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SHAKESPEARE'S 
 
 HISTORY OF 
 
 PERICLES, PRINCE OF TYRE 
 
 EDITED, WITH NOTES 
 
 BY 
 
 WILLIAM J. ROLFE, Litt.D. 
 
 FORMERLY HEAD MASTER OF THE HIGH SCHOOL 
 CAMBRIDGE, MASS. 
 
 ILLUSTRATED 
 
 NEW YORK :• CINCINNATI •:• CHICAGO 
 
 AMERICAN BOOK COMPANY 
 
LIBRARY of CONGRESS 
 Two Copies Received 
 
 DEC 29 1905 
 
 Copyright Entry 
 CLASS OL XXc. No. 
 
 f 3 A ysy 
 
 COPY B. 
 
 ShakcGpoariciva 
 
 Copyright, 1883 and 1898, by 
 HARPER & BROTHERS. 
 
 Copyright, 1905, by 
 WILLIAM J. ROLFE. 
 
 PERICLES. 
 W. P. I 
 
as. 
 
 PREFACE 
 
 Shakespeare's part of this play is merely a rough 
 sketch, which he seems to have thrown aside after 
 making it; and this, like the inferior stuff used by 
 another, or others, in finishing it for the stage, was 
 wretchedly printed in the early editions. The text of 
 all these is " corrupt and confused almost beyond de- 
 scription." Many of the more manifest errors and 
 imperfections were corrected by Malone, the first editor 
 who gave the text serious attention. His successors 
 have continued the work of emendation with varying 
 success ; but not a few passages have baffled all their 
 efforts and -must probably remain in hopeless obscurity. 
 The chief results of this scholarly labour are recorded 
 in my notes. They have an interest for advanced stu- 
 dents and critical readers. Of course the play is never 
 read in secondary schools, and seldom in the colleges 
 or in Shakespeare clubs. 
 
 In the former edition I printed the non-Shakespearian 
 part of the play in smaller type ; but on the whole this 
 seems unnecessary, and I now print the entire text in 
 the usual manner. The introduction and notes have 
 been thoroughly revised, and much new matter has 
 been added. 
 
CONTENTS 
 
 Introduction to Pericles, Prince of Tyre 
 The History of the Play . 
 The Sources of the Plot . 
 General Comments on the Play 
 
 Pericles, Prince 
 
 OF 
 
 Tyre 
 
 Actl . 
 
 
 
 Act II . 
 
 
 
 Act III . 
 
 
 
 Act IV . 
 
 
 
 Act V . 
 
 
 
 Notes . 
 
 
 
 Appendix 
 
 The " Collaboration " Theory of the Play 
 The Stage History of the Play 
 The Time- Analysis of the Play 
 List of Characters in the Play 
 
 PAGE 
 
 9 
 
 9 
 
 II 
 
 12 
 
 29 
 
 31 
 
 54 
 
 74 
 
 89 
 
 108 
 
 129 
 
 210 
 213 
 214 
 
 215 
 
 Index of Words and Phrases Explained 
 
 219 
 
Floating Chest 
 
INTRODUCTION 
 
 TO 
 
 PERICLES, PRINCE OF TYRE 
 
 The History of the Play 
 
 Pericles, Prince of Tyre, was first published in quarto 
 in 1609, with the following title-page : — 
 
 '^ The Late, And much admired Play, called Pericles, 
 Prince of Tyre. With the true Relation of the whole 
 Historie, aduentures, and fortunes of the said Prince : 
 As also. The no lesse strange and worthy accidents, in 
 the Birth and Life of his Daughter Mariana. As it hath 
 been diuers and sundry times acted by his Maiesties 
 
 9 
 
lo Pericles, Prince of Tyre 
 
 Seruants, at the Globe on the Banck-side. By William 
 Shakespeare." 
 
 Other quartos were published in the same year, and 
 in 1611, 1619, 1630, and 1635. 
 
 The play was not included in either the first or the 
 second (1632) folio, but was reprinted, with six plays 
 wrongly attributed to Shakespeare, in the third folio 
 (1664) and the fourth (1685). The foHo text is from 
 the quarto of 1635. 
 
 Rowe included Pericles in both his editions (1709 
 and 17 14), but it was rejected by Pope and subsequent 
 editors down to the time of Malone, who put it in his 
 Supplement to Steevens's edition of 1778, and in his 
 own edition of 1790. Steevens followed his example 
 in 1793, and has been followed by all the recent editors 
 except Keightley. 
 
 It is now quite unanimously agreed by the critics 
 that the first two acts of the play, together with the 
 brothel scenes in the fourth act, were written by some 
 other author than Shakespeare. " What remains is the 
 pure and charming romance of Marina, the sea-born 
 child of Pericles, her loss, and the recovery of both 
 child and mother by the afflicted prince." Whether 
 the poet enlarged and reconstructed an earlier play, 
 or some other writer or writers filled out an un- 
 finished work of his, we cannot positively decide, 
 but the latter seems by far the more reasonable 
 hypothesis. 
 
 The date of the play in its present form is probably 
 
Introduction ii 
 
 about 1 607 . It was first printed, as we have seen, in 1 609 , 
 but it was entered on the Stationers' Registers on the 
 20th of May, 1608. If, as Fleay tells us, the second 
 scene of the third act is " palpably imitated in The 
 Puritan (iv. 3)," which was acted in 1606, the date of 
 Pericles cannot be later than that year. 
 
 The Sources of the Plot 
 
 The story upon which the play is founded is given in 
 Laurence Twine's Patterne of Paineful Aduenters, first 
 published in 1576, and in the tale of Appolijitts the 
 Prince of Tyr, which forms a part of Gower's Cofifessio 
 Amantis. Twine's novel is said to have been merely 
 a reprint of the English translation (printed in 15 10) of 
 the French version of the story by Robert Copland. It 
 was taken originally from the Gesta Romanorum^ but the 
 narrative there was only one of three Latin versions, all 
 of which appear to have been based on a Greek tale of 
 the fifth or sixth century of the Christian era. Gower 
 acknowledges his indebtedness to 
 
 " a cronique in dales gone, 
 The wich is cleped Panteon;" 
 
 that is, the Latin Pantheon of Godfrey of Viterbo, who 
 wrote in the latter half of the 12 th century. 
 
 In 1608 George Wilkins published a novel which was 
 avowedly based on the acted play. The title-page was 
 as follows : — 
 
 " The Painful Aduentures of Pericles Prince of Tyre, 
 
12 Pericles, Prince of Tyre 
 
 Being The true History of the Play of Pericles^ as it 
 was lately presented by the worthy and ancient Poet 
 lohn Gower.^'' 
 
 We may fairly infer from the language of this title- 
 page that the play was then a comparatively new- one, 
 and that the date given above (1607, or possibly 1606) 
 cannot be far astray. 
 
 General Comments on the Play 
 
 During the seventeenth century there is abundant 
 contemporary evidence that Peiicles was indeed, as its 
 title-pages assert it to have been, a " much admired 
 play." Ben Jonson growled at it as " a mouldy tale," 
 made up of " scraps out of every dish." But this was 
 when, prematurely old, poor, and mortified at public 
 injustice, he poured forth his " just indignation at the 
 vulgar censure of his play, by malicious spectators ; " 
 and in doing so he bears strong testimony that the 
 public judgment as to Pericles was the reverse of his 
 own — that it " kept up the play-club," and was the 
 favourite dramatic repast to the exclusion of his own 
 " well-ordered banquet," in what he denounced (in his 
 Ode to Himself) as " a loathsome age," when 
 
 " sweepings do as well 
 As the best-ordered meal ; 
 For who the relish of such guests would fit 
 Needs set them but the alms-basket of wit." 
 
 Ben's frank and friendly admonitor, the moralist Owen 
 
Introduction 13 
 
 Feltham, replies by reminding him that there were 
 scenes and jokes in his own unfortunate play (the New 
 
 Inn) that 
 
 " throw a stain 
 Through all the unlucky plot, and do displease 
 As deep as Pericles ; " 
 
 thus giving an additional testimony that the faults of 
 Pei'-ides did not escape the critical eye, while they 
 pleased the many. Thus the play kept possession of 
 the stage to the days of Addison, when Pericles was one 
 of the favourite parts of Betterton. Dryden, who lived 
 near enough to the author's time to have learned the 
 stage tradition from contemporaries, while he evidently 
 perceived the imperfections of this play, never doubted 
 its authenticity, and accounted for its inferiority to 
 the greater tragedies by considering this to be due to the 
 consequences of the poet's youthful inexperience (Pro- 
 logue to Davenant's Circe ^ 1675) : — 
 
 " Shakespeare's own muse her Pericles first bore ; 
 The Prince of Tyre was elder than the Moor. 
 'T is miracle to see a first good play ; 
 All hawthorns do not bloom on Christmas day." 
 
 This was in 1675, and the play continued to be re- 
 garded as Shakespeare's until 1709, when Rowe, as 
 already stated, included it in his edition. But, instead 
 of apparently reckoning it a youthful production of 
 the dramatist, as Dryden had done, he said that ^' it 
 is owned that some part of Pericles was written by him, 
 particularly the last scene," implying that the rest was 
 
14 Pericles, Prince of Tyre 
 
 by some inferior playwright. Pope, in his preface, said 
 he had '^ no doubt that these wretched plays, Pericles^ 
 Locrine, Sir John Oldcastle, etc., etc., cannot be ad- 
 mitted as his." His successors who excluded it did so 
 without comment, and until the time of Malone the 
 critics and writers upon the English drama treated it 
 only as a play once erroneously attributed to Shake- 
 speare. Malone declared that it was " the entire work 
 of Shakespeare, and one of his earliest compositions." 
 Steevens, on the other hand, said of it : " The drama 
 contains no discrimination of manners (except in the 
 comic dialogues), very few traces of original thought, 
 and is evidently destitute of that intelligence and use- 
 ful knowledge that pervade even the meanest of Shake- 
 speare's undisputed performances." After analyzing 
 the plot at some length, he concludes by expressing his 
 belief " that our great poet had no share in construct- 
 ing it." This decision long remained unquestioned. 
 Hallam, indeed, thought that many passages in it were 
 more in Shakespeare's manner than that of any con- 
 temporary writer, but that it was " full of evident marks 
 of an inferior hand." Gifford rejected it and called it 
 " the worthless Pericles.'*'' 
 
 Godwin, in his Life of Chaucer (1803), incidentally 
 referring to Pericles^ terms it " a beautiful drama, which 
 in sweetness of manner, delicacy of description, truth 
 of feeling, and natural ease of language, would do 
 honour to the greatest author that ever existed." Mr. 
 B. W. Procter ("Barry Cornwall") insists that "the 
 
Introduction 15 
 
 merit and style of the work sufficiently denote the 
 author," who " was and is, beyond all competition, 
 the greatest poet that the world has ever seen." 
 
 Verplanck (in 1847), after referring to the theory 
 that Pericles was one of the very earliest of Shake- 
 speare's plays, "perhaps an almost boyish work," was 
 inclined to adopt the theory that " the original Pericles 
 was by some inferior hand, perhaps by a personal 
 friend of Shakespeare's, and that he, without remodel- 
 ling the plot, undertook to correct and improve it, 
 beginning with slight additions, and his mind, warming 
 as he proceeded, breaking out towards the close of the 
 drama with its accustomed vigour and abundance." 
 
 The fatal objection to this hypothesis is that the first 
 two acts of the play are so uniformly and so abominably 
 bad that we cannot imagine Shakespeare undertaking 
 to revise such a play and leaving two entire acts in 
 their original condition. 
 
 There is the same insuperable objection to the theory 
 that Pericles was written by Shakespeare and another 
 writer working together — a theory which, strangely 
 enough, has been revived by Mr. Lee, who says that 
 Shakespeare " reverted in the year following the colos- 
 sal effort of Lear (1607) to his earlier habit of collabo- 
 ration, and with another's aid composed two dramas — 
 Timon of Athens and Pericles. '''' Is it conceivable that 
 the author of Lear would collaborate with one who could 
 write the first two acts of Pericles, or that after allowing 
 his partner to write those acts without aid or advice 
 
1 6 Pericles, Prince of Tyre 
 
 from himself (for there is not a line in them which he 
 could have written or even retouched) he accepted or 
 approved them, and then began work himself on the 
 third act in the grand style of that period in his own 
 career? 
 
 This theory, moreover, as well as the theory that 
 Shakespeare finished or revised a play by somebody 
 else, assumes, as Fleay has said, that the dramatist 
 " deliberately chose a story of incest, which, having no 
 tragic horror in it, would have been rejected by Ford 
 or Massinger, and grafted on this a filthy story, which, 
 being void of humour, would even have been rejected 
 by Fletcher." 
 
 The one theory that explains all the facts in the case, 
 and also the perplexity that these facts have caused the 
 critics, is thus stated by Fleay : " Shakespeare wrote 
 the story of Marina, in the last three acts, minus the 
 prose scenes and the Gower. This gives a perfect ar- 
 tistic and organic whole, and, in my opinion, ought to 
 be printed as such in every edition of Shakespeare : the 
 whole play, as it stands, might be printed in collections 
 for the curious, and there only. But this story was not 
 enough for filling the necessary five acts from which 
 Shakespeare never deviated ; he therefore left it un- 
 finished, and used the arrangement of much of the later 
 part in the end of The Winter's Tale, which should be 
 carefully compared with this play. The unfinished play 
 was put into the hands of another of the ' poets ' attached 
 to the same theatre, and the greater part of the present 
 
Introduction 17 
 
 play was the result ; this poet having used the whole 
 story as given in Gower and elsewhere." 
 
 It is not necessary to assume that this hypothesis 
 is correct in all its details. The essential point is that 
 an unfinished play of Shakespeare's was finished by 
 somebody else ; not that he finished or revised a play 
 by somebody else. 
 
 We may be sure, however, that Shakespeare had 
 nothing whatever to do with the completion of the 
 play. It is inconceivable that he could have con- 
 sented to its being completed by such a person as did 
 it or in the way in which he did it. 
 
 Delius and Fleay agree that the person who wrote 
 acts i. and ii. and the Gower matter was George Wil- 
 kins, who wTote the novel based on the play. Fleay 
 believes that the offensive prose scenes were the work 
 of W. Rowley. He discovered that about the time 
 when Pericles was written Wilkins, Rowley, and John 
 Day collaborated in writing The Travels of the Three 
 English brothers^ Sir Thomas^ Sir Anthony^ and Sir 
 Robert Shirley, an Historicall Play, printed in 1607. 
 
 In the discussion that followed the reading of Fleay's 
 paper on Pericles before the New Shakspere Society, 
 May 8th, 1874, Furnivall said : — 
 
 " I hope the fact I am going to mention will render 
 all further discussion as to the Shakspere part of the 
 Pericles unnecessary. When I first saw Mr. Tennyson 
 last winter — after many years' occasional correspond- 
 ence — he asked me, during our talk, whether I had 
 
 PERICLES — 2 
 
1 8 Pericles, Prince of Tyre 
 
 ever examined Pericles with any care. I had to confess 
 that I 'd never read it, as some friends whom I con- 
 sidered good judges had told me it was very doubtful 
 whether Shakspere wrote any of it. Mr. Tennyson 
 answered, ' O, that won't do ! He wrote all the part 
 relating to the birth and recovery of Marina, and the 
 recovery of Thais. I settled that long ago. Come up- 
 stairs, and I '11 read it to you.' Up-stairs to the smok- 
 ing-room in Seamore Place we went, and there I had 
 the rare treat of hearing the poet read in his deep voice 
 
 — with an occasional triumphant 'Isn't that Shak- 
 spere ? what do you think of it ? ' and a few comments 
 
 — the genuine part of Pericles. I need not tell you 
 how I enjoyed the reading, or how quick and sincere 
 my conviction of the genuineness of the part read was." 
 
 The parts read by Tennyson were almost exactly 
 the same that Fleay had marked as Shakespeare's ; 
 and, as Furnivall adds, " the independent confirma- 
 tion of the poet-critic's result by the metrical-test- 
 worker's process is most satisfactory and interesting." 
 
 Verplanck remarks : " The ' glorious uncertainty of 
 the law ' has been exemphfied and commemorated, in 
 a large and closely printed volume, containing nothing 
 but the mere titles of legal decisions, once acknowledged 
 as law, and since reversed or contradicted, as * cases 
 overruled, doubted, or denied.' The decisions of the 
 critical tribunals would furnish materials for a much 
 larger work ; and Shakespearian criticism, by itself, 
 would supply an ample record of varying or overruled 
 
Introduction 19 
 
 judgments. Those on the subject of Pericles alone 
 would constitute a large title in the collection. 
 
 "Yet, in the play itself may be found some founda- 
 tion for all and each of those opinions, though least for 
 the hasty and vague censures of Pope and Gilford. 
 The play is awkwardly and unskilfully constructed, 
 being on the plan of the old legendary drama, when it 
 was thought sufficient to put some popular narrative 
 into action, with little attempt at a condensed and sus- 
 tained continuous interest in the plot or its personages. 
 It rambles along through the period of two generations, 
 without any attempt at the artist-like management of a 
 similar duration in the Winter's Tale, by breaking up 
 the story into parts, and making the one a natural 
 sequel to the other, so as to keep up a uniform con- 
 tinuity of interest throughout both. . . . 
 
 '^ From these circumstances, if, at the time when 
 Pericles was excluded from the ordinary editions, its 
 place had been supplied by a prose outline of the 
 story, with occasional specimens of the dialogue, such 
 as Voltaire gave of Julius Ccesar, selected only from 
 the most extravagant passages, there would be little 
 hesitation in denying the whole or the greater part of 
 the play to be Shakespeare's, or in allowing that it 
 bore 'evident marks of an inferior hand.' 
 
 '' Yet, on the other hand, it contains much to please, 
 to surprise, to affect, and to delight. The introduction 
 of old Gower, linking together the broken action by his 
 antiquated legendary narrative, is original and pleas- 
 
20 Pericles, Prince of Tyre 
 
 ing. The very first scenes have here and there some 
 passages of sudden and unexpected grandeur, and the 
 later acts bear everywhere the very ' form and pressure ' 
 of Shakespeare's mind. Yet it is observable, that wher- 
 ever we meet him, in his own unquestionable person, it is 
 not as the poetic Shakespeare of the youthful comedies, 
 but with the port and style of the author of Lear and 
 Cordelia. Indeed, the scene, in the last act, of Pericles 's 
 recognition of his daughter, recalls strongly the touch- 
 ing passages of Cordelia's filial love, and Lear's return 
 to reason, by a resemblance, not so much of situation 
 or language as of spirit and feeling. The language and 
 style of these nobler passages are peculiarly Shake- 
 spearian, and, as Mr. Hallam justly observes, ' of the 
 poet's later manner.' They have his emphatic mode of 
 employing the plainest and most homely words in the 
 highest and most poetical sense, — his original com- 
 pounds, his crowded magnificence of gorgeous imagery, 
 interspersed with the simplest touches of living nature. 
 Thus, when Pericles retraces his lost wife's features in 
 his recovered child : — 
 
 " * My dearest wife was like this maid, and such a one 
 
 My daughter might have been : my queen's square brows, 
 
 Her stature to an inch, as wand-like straight. 
 
 As silver-voic'd, her eyes as jewel-like 
 
 And cas'd as richly ; in pace another Juno, 
 
 Who starves the ears she feeds, and makes them hungry 
 
 The more she gives them speech.' 
 
 '' Here, too, we find his peculiar mode of stating and 
 
Introduction 21 
 
 enforcing general truths — not in didactic digression, 
 but as interwoven with and growing out of the incidents 
 or passing emotions of the scene. Taking these char- 
 acteristics into view, and these alone, the play must be 
 pronounced worthy of all the praise bestowed by God- 
 win. If, then, we were to reverse the experiment, just 
 suggested, upon the supposed reader who knows no 
 more of Pericles than that it is a play which has been 
 ascribed by some to Shakespeare, and to place before 
 him a prose abstract of the plot, interspersed with large 
 extracts from the finer passages, he would surely wonder 
 why there could have been a moment's hesitation in 
 placing Pericles by the side of Cymbeline and the 
 Winter's TaUr 
 
 Critics have sometimes sneered at the inferences 
 concerning the history of the plays drawn from the 
 results of metrical analysis ; and it may be admitted 
 that when viewed apart from other evidence their sig- 
 nificance is liable to be overestimated. But when we 
 find them in almost absolute accordance with indepen- 
 dent evidence — like that of the poet Tennyson, as cited 
 by Furnivall ~ their force is far more than doubled. In 
 regard to the present play the metrical analysis of itself 
 shows so striking a difference between the verse of the 
 first two and the last three acts that, as Fleay remarks, 
 it " renders it astonishing that they could ever have 
 been supposed to be the work of one author." In the 
 paper referred to above he gives the following " com- 
 parative table : " — 
 
Acts i., ii. 
 
 Acts iii., iv., v 
 
 835 
 
 827 
 
 195 
 
 14 
 
 72 
 
 106 
 
 5 
 
 13 
 
 71 
 
 98 
 
 8 
 
 16 
 
 22 Pericles, Prince of Tyre 
 
 Total no. of lines . . 
 No. of rhyme lines . 
 No. of double endings 
 No. of Alexandrines . 
 No. of short lines . . 
 No. of rhymes not dialogue 
 
 He adds : " The differences in the other items are 
 striking, and of themselves conclusive ; but the differ- 
 ence of the numbers of rhymes, the proportion being 
 14 in the one part to i in the other, is such as the most 
 careless critic ought to have long since noticed. With 
 regard to this main question, then, there can be no 
 doubt : the three last acts alone can be Shakespeare's ; 
 the other part is by some one of a very different school. 
 But we have minor questions of some interest to 
 settle. The first of these is. Who wrote the scenes in 
 the brothel, act iv. sc. 2, 5, 6? I say decidedly, 
 not Shakespeare, for these reasons : These scenes are 
 totally unlike Shakespeare's in feeling on such matters. 
 He would not have indulged in the morbid anatomy of 
 such loathsome characters ; he would have covered the 
 ulcerous sores with a film of humour, if it w^ere a neces- 
 sary part of his moral surgery to treat them at all ; and, 
 above all, he would not have married Marina to a man 
 whose acquaintance she had first made in a public 
 brothel, to which his motives of resort were not recom- 
 mendatory, however involuntary hei- sojourn there may 
 have been. A still stronger argument is the omission 
 of any allusion in the after-scenes to these three. In 
 
Introduction 
 
 23 
 
 one place, indeed, there seems to be a contradiction of 
 them. The after-account of Marina, which is amply 
 sufficient without the prose scenes for dramatic pur- 
 poses, is given thus (v. i) : — 
 
 * We haue a maid'vsx Metiline . . . 
 
 She with her fellow maides [is] now upon 
 The leauie shelter that abutts against 
 The Islands side.' 
 
 I cannot reconcile this with iv. 6 : — 
 
 ' Proclaim that I can sing, weave, sowe, and dance, 
 And [I] will undertake all these to teach.' 
 
 nor with v. Gower : — 
 
 * Pupils lacks she none of nobler race, 
 
 Who pour their bounty on her : and her gain 
 
 She gives the cursed Bawd.^ 
 
 " But if these scenes are not Shakespeare's (and 
 repeated examination only strengthens my conviction 
 that they are not), the clumsy Gower chorus is not his 
 either. ... 
 
 " In confirmation of the general conclusions arrived 
 at above, I may add a few isolated considerations. In 
 the list of the actors' names, Boult, Bawd, and Pander 
 are omitted : now these, and these only, are the addi- 
 tional characters introduced in the brothel scenes in 
 the fourth act. This looks very much as if these scenes 
 had been an afterthought added when the rest of the 
 play had been already arranged. Couple with this the 
 fact that the Gower parts in acts iv., v., in which these 
 
24 Pericles, Prince of Tyre 
 
 scenes are alluded to, are in lines of five measures, and 
 not of four, as those in the earlier acts are : observe, 
 also, that these scenes, though far from reaching to 
 Shakespeare's excellence, are certainly superior to any- 
 thing in the first two acts, so far as mere literature is 
 concerned, and it will be almost certain that three 
 authors were concerned in this play. The first author 
 wrote the first two acts, and arranged the whole so as 
 to incorporate the Shakespeare part. The second 
 wrote the five-measure Gower parts and the brothel- 
 scenes in acts iv., v., in order to lengthen out the play 
 to the legitimate five acts." 
 
 As additional evidence in support of the theory that 
 George Wilkins was the author of acts i. and ii., Fleay 
 says : " I give an analysis of the metre of the only play 
 of Wilkins which we possess — The Miseries of Inforced 
 Marriage — which will be found to coincide very closely 
 with that of acts i., ii. of Pericles given above, and 
 which is more like it than that of any other play among 
 the hundreds I have tabulated. There are in that play 
 526 rhyming lines, 155 double endings, 15 Alexan- 
 drines, 102 short lines, 14 rhyming lines of less than five 
 measures, and a good deal of prose, which, seeing that 
 the play is about three times the length of the first two 
 acts of Pericles, gives a marvellously close agreement 
 in percentage." 
 
 Furnivall aptly remarks : "As you read through 
 the dull beginning acts, you at once feel the change 
 of hand when you come on the first words of act 
 
Introduction 25 
 
 iii. : ' Thou god of this great vast.' You see the birth 
 of Marina, the supposed death and casting into the 
 sea of her mother Thaisa, the committal of the babe 
 to Cleon's treacherous wife Dionyza, the betrayal of 
 her trust by that harpy, and her persuading Leonine to 
 murder Marina simply because she was more beautiful 
 than her own daughter. Then we see Marina rescued, 
 but see, too, the despair of Pericles on hearing of her 
 (supposed) death, his three months' silence, and then 
 his recovery under his daughter's earnest pleas : — 
 
 * Who starves the ears she feeds, and makes them hungry 
 The more she gives them speech.' 
 
 And then his great ' sea of joys ' rushing upon him 
 when he is convinced of her existence ; then, his first 
 thoughts of vengeance postponed, his visit to the Tem- 
 ple of Diana at Ephesus, the high-priestess, his wife 
 Thaisa, recognising him, and thus finding husband and 
 daughter at once : ' Pericles. Ye gods, your present 
 kindness makes my past misery,' etc. Thenceforth 
 he thinks only of their daughter's marriage ; vengeance 
 is forgotten in his joy. Shakspere's motive in taking 
 up the story was surely this reunion of father, mother, 
 and daughter, and not the early part, of Apollonius of 
 Tyre's incest with his child, which Chaucer reproached 
 Gower for telling. Still, he may have meant to show 
 us Marina by her purity and virgin presence disarming 
 the lust of men, thus giving us in her a Fourth-Period 
 representative of the glorious Third-Period Isabella. . . . 
 
26 Pericles J Prince of Tyre 
 
 One passage in Pericles has for me a personal interest 
 as regards Shakspere. Seeing with what contempt he 
 treated the apothecaries in the Errors and Romeo and 
 Juliet, and how little notice he took of the Doctor in 
 Macbeth, we are struck with the very different' char- 
 acter he gives to the noble, scientific, and generous 
 Cerimon here. He is a man working for the good of 
 all, the kind of man that Bacon would have desired for 
 a friend. And recollecting that the date of this play is 
 1608 (or 1607), I cannot help believing that Cerimon 
 represents to some extent the famous Stratford physi- 
 cian, Dr. John Hall, who, on June 5, 1607, married 
 Shakspere's eldest daughter Susanna." 
 
 This view of Cerimon, to my thinking, is strongly 
 confirmed by the similar character of Cornelius, the 
 wise and good physician in Cytnbeline, written two or 
 three years later. 
 
 Herford remarks that the first two acts of the 
 play, " helplessly reproducing the incoherent series of 
 Pericles' pre-nuptial adventures, are equally devoid of 
 the brilliancy of Shakespeare's youth and of the subtle 
 technique of his maturity. They combine the imper- 
 fect craft of the 'prentice with the dulness of the jour- 
 neyman." He adds: "But the opening of the third 
 act, by one of the most amazing transitions in literature, 
 suddenlysteeps us in the atmosphere of high poetry. . . . 
 In the tossing ship Marina has her rude welcome to 
 the world, and throughout the rest of the play Shake- 
 speare's comings-in and goings-out tend to follow hers. 
 
Introduction 27 
 
 . . . Besides exhibiting Shakespearian style, these por- 
 tions of Pericles abound in Shakespearian motives. 
 Especially close affinities bind them with the ' Ro- 
 mances ' which immediately followed them. Like The 
 Tempest^ these Marina-scenes open with storm, and 
 Pericles, confronting its tragic cruelty, is as grand a 
 figure as Prospero. Marina stands ' flower-like among 
 her flowers ' like Perdita, and reads the poisonous 
 tenderness of a jealous mother, like Imogen. The 
 meeting of Pericles with Thaisa and with Marina 
 is drawn with as profound a feeling for joy as that 
 of Leontes with Perdita and with Hermione." 
 
PERICLES, PRINCE OF TYRE 
 
DRAMATIS PERSONS 
 
 * Antiochus, king of Antioch. 
 
 Pericles, prince of Tyre. 
 
 HelICANUS, I » 1 J r-T' 
 
 EscANES, ( two lords Of Tyre. 
 SiMONiDES, king of Pentapolis. 
 Cleon, governor of Tarsus. 
 Lysimachus, governor of Mytilene. 
 Cerimon, a lord of Ephesus. 
 Thaliard, a lord of Antioch. 
 Philemon, servant to Cerimon. 
 Leonine, servant to Dionyza. 
 Marshal. 
 A Pandar. 
 BouLT, his servant. 
 
 The Daughter of Antiochus. 
 Dionyza, wife to Cleon/ 
 Thaisa, daughter to Simonides. 
 Marina, daughter to Pericles and Thaisa. 
 Lychorida, nurse to Marina. 
 A Bawd. 
 
 Lords. Knights, Gentlemen, Sailors, Pirates, Fishermen, and Messengers. 
 
 Diana. 
 
 Gower, as Chorus. 
 
 Scene: Dispersedly in various countries. 
 
Palace at Antioch 
 
 ACT I 
 
 Enter Gower 
 
 Before the Palace of Antioch 
 
 To sing a song that old was sung, 
 From ashes ancient Gower is come, 
 Assuming man's infirmities, 
 To glad your ear and please your eyes. 
 It hath been sung at festivals, 
 On ember-eves and holy-ales ; 
 And lords and ladies in their lives 
 Have read it for restoratives. 
 
32 Pericles, Prince of Tyre [Act i 
 
 The purchase is to make men glorious ; 
 
 Et bonum quo antiquius, eo melius. lo 
 
 If you, born in these latter times, 
 
 When wit 's more ripe, accept my rhymes, 
 
 And that to hear an old man sing 
 
 May to your wishes pleasure bring, 
 
 I life would wish, and that I might 
 
 Waste it for you, like taper-light. 
 
 This Antioch, then, Antiochus the Great 
 
 Built up, this city, for his chiefest seat ; 
 
 The fairest in all Syria, — 
 
 I tell you what mine authors say. 20 
 
 This king unto him took a fere, 
 
 Who died and left a female heir. 
 
 So buxom, bhthe, and full of face, 
 
 As heaven had lent her all his grace ; 
 
 With whom the father liking took. 
 
 And her to incest did provoke. 
 
 Bad child, worse father ! to entice his own 
 
 To evil should be done by none ; 
 
 But custom what they did begin 
 
 Was with long use account no sin. 30 
 
 The beauty of this sinful dame 
 
 Made many princes thither frame. 
 
 To seek her as a bed-fellow. 
 
 In marriage-pleasures play-fellow ; 
 
 Which to prevent he made a law. 
 
 To keep her still, and men in awe, 
 
 That whoso ask'd her for his wife. 
 
Scene I] Pericles, Prince of Tyre ^^ 
 
 His riddle told not, lost his life. 
 
 So for her many a wight did die, 
 
 As yon grim looks do testify. 40 
 
 What now ensues, to the judgment of your eye 
 
 I give, my cause who best can justify. [£xi^. 
 
 Scene I. Antioch. A Roo7n in the Palace 
 Enter Antiochus, Prince Pericles, and followers 
 
 Antiochus. Young prince of Tyre, you have at large 
 receiv'd 
 The danger of the task you undertake. 
 
 Pericles. I have, Antiochus, and, with a soul 
 Embolden'd with the glory of her praise, 
 Think death no hazard in this enterprise. 
 
 Antiochus. Bring in our daughter, clothed like a 
 bride, 
 For the embracements even of Jove himself, 
 At whose conception, till Lucina reign 'd, 
 Nature this dowry gave, to glad her presence, — 
 The senate-house of planets all did sit, 10 
 
 To knit in her their best perfections. 
 
 Music. Enter the Daughter of Antiochus 
 
 Pericles. See where she comes, apparell'd like the 
 spring, 
 Graces her subjects, and her thoughts the king 
 Of every virtue gives renown to men ! 
 Her face the book of praises, where is read 
 Nothing but curious, pleasures, as from thence 
 
 PERICLES — 3 
 
34 PericleSj Prince of Tyre [Act i 
 
 Sorrow were ever raz'd, and testy wrath 
 
 Could never be her mild companion. 
 
 You gods that made me man, and sway in love, 
 
 That have inflam'd desire in my breast 20 
 
 To taste the fruits of yon celestial tree 
 
 Or die in the adventure, be my helps, 
 
 As I am son and servant to your will, 
 
 To compass such a boundless happiness ! 
 
 Antiochus. Prince Pericles, — 
 
 Pericles. That would be son to great Antiochus. 
 
 Antiochus. Before thee stands this fair Hesperides, 
 With golden fruit, but dangerous to be touch'd, 
 For death-like dragons here affright thee hard. 
 Her face, like heaven, enticeth thee to view 30 
 
 Her countless glory, which desert must gain, 
 And which, without desert, because thine eye 
 Presumes to reach, all thy whole heap must die. 
 Yon sometimes famous princes, like thyself, 
 Drawn by report, adventurous by desire. 
 Tell thee, with speechless tongues and semblance pale. 
 That without covering, save yon field of stars. 
 Here they stand martyrs, slain in Cupid's wars, 
 And with dead cheeks advise thee to desist 
 For going on death's net, whom none resist. 40 
 
 Pericles. Antiochus, I thank thee, who hath taught 
 My frail mortality to know itself, 
 And by those fearful objects to prepare 
 This body, like to them, to what I must ; 
 For death remember'd should be like a mirror, 
 
Scene I] Pericles, Prince of Tyre ^^ 
 
 Who tells us life 's but breath, to trust it error. 
 
 I '11 make my will then, and, as sick men do 
 
 Who know the world, see heaven, but, feeling woe, 
 
 Gripe not at earthly joys as erst they did. 
 
 So I bequeath a happy peace to you 50 
 
 And all good men, as every prince should do ; 
 
 My riches to the earth from whence they came, — 
 
 But my unspotted fire of love to you. — 
 
 [To the daughter of Antiochus. 
 Thus ready for the way of life or death, 
 I wait the sharpest blow, Antiochus. 
 
 Antiochus. Scorning advice, read the conclusion then, 
 Which read and not expounded, 't is decreed, 
 As these before thee thou thyself shalt bleed. 
 
 Daughter. Of all say'd yet, mayst thou prove pros- 
 perous ! 
 Of all say'd yet, I wish thee happiness ! 60 
 
 Pericles. Like a bold champion, I assume the lists. 
 Nor ask advice of any other thought 
 But faithfulness and courage. 
 
 \He reads the riddle^^ 
 I am no viper., yet I feed 
 On mother^ s flesh which did me breed. 
 I sought a husband, in which labour 
 I found that kindtiess in a father. 
 He '^s father^ son., and husband mild ; 
 I mother, wife, and yet his child. 
 How they may be., and yet in two., 70 
 
 As you will live, resolve it you. 
 
^6 Pericles, Prince of Tyre [Act i 
 
 Sharp physic is the last ; but, O you powers 
 
 That give heaven countless eyes to view men's acts, 
 
 Why cloud they not their sights perpetually, 
 
 If this be true which makes me pale to read it ? — 
 
 Fair glass of light, I lov'd you, and could still, 
 
 [Ta^es hold of the hand of the Princess. 
 Were not this glorious casket stor'd with ill ; 
 But I must tell you, now my thoughts revolt. 
 For he 's no man on whom perfections wait 
 That, knowing sin within, will touch the gate. 80 
 
 You are a fair viol, and your sense the strings, 
 Who, finger'd to make man his lawful music. 
 Would draw heaven down, and all the gods, to hearken ; 
 But, being play'd upon before your time. 
 Hell only danceth at so harsh a chime. 
 Good sooth, I care not for you. 
 
 Antiochus. Prince Pericles, touch not, upon thy life, 
 For that 's an article within our law. 
 As dangerous as the rest. Your time 's expir'd ; 
 Either expound now, or receive your sentence. 90 
 
 Pericles. Great king. 
 Few love to hear the sins they love to act ; 
 'T would braid yourself too near for me to tell it. 
 Who has a book of all that monarchs do, 
 He 's more secure to keep it shut than shown, 
 For vice repeated is like the wandering wind. 
 Blows dust in others' eyes, to spread itself ; 
 And yet the end of all is bought thus dear, 
 The breath is gone, and the sore eyes see clear 9^ 
 
Scene I] Pericles, Prince of Tyre 37 
 
 To stop the air would hurt them. The blind mole casts 
 Copp'd hills towards heaven, to tell the earth is throng'd 
 By man's oppression ; and the poor worm doth die for 't. 
 Kings are earth's gods ; in vice their law 's their will, 
 And if Jove stray, who dares say Jove doth ill ? 
 It is enough you know ; and it is fit, 
 What being more known grows worse, to smother it. 
 All love the womb that their first being bred, 
 Then give my tongue like leave to love my head. 
 
 Antiochus. \Aside\ Heaven, that I had thy head ! he 
 has found the meaning ; 
 But I will gloze with him. — Young prince of Tyre, no 
 Though by the tenor of our strict edict, 
 Your exposition misinterpreting. 
 We might proceed to cancel of your days, 
 Yet hope, succeeding from so fair a tree 
 As your fair self, doth tune us otherwise. 
 Forty days longer we do respite you ; 
 If by which time our secret be undone, 
 This mercy shows we '11 joy in such a son. 
 And until then your entertain shall be 
 As doth befit our honour and your worth. 
 
 [Exeunt all but Pericles. 
 
 Pericles. How courtesy would seem to cover sin 121 
 When what is done is like an hypocrite, 
 The which is good in nothing but in sight ! 
 If it be true that I interpret false. 
 Then were it certain you were not so bad 
 As with foul incest to abuse your soul, 
 
38 Pericles, Prince of Tyre [Act i 
 
 Where now you 're both a father and a son, 
 
 By your untimely claspings with your child, 
 
 Which pleasure fits an husband, not a father ; 
 
 And she an eater of her mother's flesh, 130 
 
 By the defiling of her parent's bed ; 
 
 And both like serpents are, who though they feed 
 
 On sweetest flowers, yet they poison breed. 
 
 Antioch, farewell ! for wisdom sees, those men 
 
 Blush not in actions blacker than the night 
 
 Will shun no course to keep them from the light. 
 
 One sin, I know, another doth provoke ; 
 
 Murther 's as near to lust as flame to smoke ; 
 
 Poison and treason are the hands of sin, 
 
 Ay, and the targets, to put off the shame. 140 
 
 Then, lest my life be cropp'd to keep you clear, 
 
 By flight I '11 shun the danger which I fear. \Exit. 
 
 Re-enter Antiochus 
 
 Antiochus. He hath found the meaning, for the 
 which we mean 
 To have his head. 
 
 He must not live to trumpet forth my infamy, 
 Nor tell the world Antiochus doth sin 
 In such a loathed manner ; 
 And therefore instantly this prince must die, 
 For by his fall my honour must keep high. — 
 Who attends us there ? 
 
 Enter Thaliard 
 
 Thaliard. Doth your highness call ? r^o 
 
Scene I] Pericles, Prince of Tyre 39 
 
 Antiochus. Thaliard, 
 You are of our chamber, and our mind partakes 
 Her private actions to your secrecy ; 
 And for your faithfulness we will advance you. 
 Thaliard, behold, here 's poison, and here 's gold ; 
 We hate the prince of Tyre, and thou must kill him. 
 It fits thee not to ask the reason why. 
 Because we bid it. Say, is it done ? 
 
 Thaliard. My lord, 
 
 'T is done. ■ 
 
 Antiochus. Enough. — 160 
 
 Enter a Messenger 
 
 Let your breath cool yourself, telling your haste. 
 
 Messenger. My lord, prince Pericles is fied. [Exit. 
 
 Antiochus. As thou 
 
 Wilt live, fly after ; and like an arrow shot 
 From a well-experienc'd archer hits the mark 
 His eye doth level at, so thou ne'er return 
 Unless thou say ' Prince Pericles is dead.' 
 
 Thaliard. My lord. 
 If I can get him within my pistol's length, 
 I '11 make him sure enough ; so farewell to your high- 
 ness. 
 
 Antiochus. Thaliard, adieu ! — \_Exit Thaliai'd7\ Till 
 
 Pericles be dead, 170 
 
 My heart can lend no succour to my head. \^Exit. 
 
40 Pericles, Prince of Tyre [Act I 
 
 Scene II. Tyre. A Room in the Palace 
 
 Enter Pericles 
 
 Pericles. [To Lords without^ Let none disturb us. — 
 Why should this change of thoughts, 
 The sad companion, dull-eyed melancholy, 
 Be my so us'd a guest as not an hour, 
 In the day's glorious walk or peaceful night. 
 The tomb where grief should sleep, can breed me quiet ? 
 Here pleasures court mine eyes, and mine eyes shun 
 
 them. 
 And danger, which I fear'd, is at Antioch, 
 Whose arm seems far too short to hit me here ; 
 Yet neither pleasure's art can joy my spirits, 
 Nor yet the other's distance comfort me. lo 
 
 Then it is thus : the passions of the mind. 
 That have their first conception by misdread, 
 Have after-nourishment and life by care ; 
 And what was first but fear what might be done 
 Grows elder now and cares it be not done. 
 And so with me : the great Antiochus, 
 'Gainst whom I am too little to contend, 
 Since he 's so great can make his will his act. 
 Will think me speaking, though I swear to silence ; 
 Nor boots it me to say I honour him, 20 
 
 If he suspect I may dishonour him. 
 And what may make him blush in being known. 
 He '11 stop the course by which it might be known ; 
 
Scene II] Pericles, Prince of Tyre 41 
 
 With hostile forces he '11 o'erspread the land, 
 
 And with the ostent of war will look so huge, 
 
 Amazement shall drive courage from the state, 
 
 Our men be vanquish'd ere they do resist. 
 
 And subjects punish'd that ne'er thought offence ; 
 
 Which care of them, not pity of myself. 
 
 Who am no more but as the tops of trees, 30 
 
 Which fence the roots they grow by and defend them. 
 
 Makes both my body pine and soul to languish. 
 
 And punish that before that he would punish. 
 
 Enter Helicanus, with other Lords 
 
 1 Lord. Joy and all comfort in your sacred breast ! 
 
 2 Lord. And keep your mind, till you return to us, 
 Peaceful and comfortable ! 
 
 Helicanus. Peace, peace, and give experience tongue. 
 They do abuse the king that flatter him. 
 For flattery is the bellows blows up sin ; 
 The thing the which is flatter'd, but a spark, 40 
 
 To which the blast gives heat and stronger glowing ; 
 Whereas reproof, obedient and in order. 
 Fits kings, as they are men, for they may err. — 
 When Signior Sooth here doth proclaim a peace, 
 He flatters you, makes war upon your life. 
 Prince, pardon me, or strike me, if you please ; 
 I cannot be much lower than my knees. 
 
 Pericles. All leave us else ; but let your cares o'er- 
 look 
 What shipping and what lading 's in our haven. 
 
42 Pericles, Prince of Tyre [Act i 
 
 And then return to us. — [Exeunt Lords.'] Helicanus, 
 thou 50 
 
 Hast moved us ; what seest thou in our looks ? 
 
 Helicanus. An angry brow, dread lord. 
 
 Pericles. If there be such a dart in princes' frowns, 
 How durst thy tongue move anger to our face ? 
 
 Helicanus. How dare the plants look up to heaven, 
 from whence 
 They have their nourishment? 
 
 Pericles. Thou know'st I have power 
 
 To take thy life from thee. 
 
 Helicanus. \Kneeling\ I have ground the axe myself ; 
 Do you but strike the blow. 
 
 Pericles. Rise, prithee, rise, 
 
 Sit down ; thou art no flatterer. 60 
 
 I thank thee for it ; and heaven forbid 
 That kings should let their ears hear their faults hid ! 
 Fit counsellor and servant for a prince. 
 Who by thy wisdom mak'st a prince thy servant, 
 What wouldst thou have me do ? 
 
 Helica7ius. To bear with patience 
 
 Such griefs as you yourself do lay upon yourself. 
 
 Pericles. Thou speak'st like a physician, Helicanus, 
 That minister'st a potion unto me 
 That thou wouldst tremble to receive thyself. 
 Attend me, then : I went to Antioch, 70 
 
 Where as thou know'st, against the face of death, 
 I sought the purchase of a glorious beauty. 
 From whence an issue I might propagate, 
 
Scene II] Pericles, Prince of Tyre 43 
 
 Are arms to princes and bring joys to subjects. 
 
 Her face was to mine eye beyond all wonder, 
 
 The rest — hark in thine ear — as black as incest, 
 
 Which by my knowledge found, the sinful father 
 
 Seem'd not to strike, but smooth ; but thou know'st this, 
 
 'T is time to fear when tyrants seem to kiss. 
 
 Which fear so grew in me, I hither fled, 80 
 
 Under the covering of a careful night, 
 
 Who seem'd my good protector ; and, being here, 
 
 Bethought me what was past, what might succeed. 
 
 I knew him tyrannous, and tyrants' fears 
 
 Decrease not, but grow faster than the years ; 
 
 And should he doubt it, as no doubt he doth, 
 
 That I should open to the listening air 
 
 How many worthy princes' bloods were shed, 
 
 To keep his bed of blackness unlaid ope, 
 
 To lop that doubt, he '11 fill this land with arms, 90 
 
 And make pretence of wrong that I have done him ; 
 
 When all, for mine — if I may call 't — offence. 
 
 Must feel war's blow, who spares not innocence ; 
 
 Which love to all, of which thyself art one. 
 
 Who now reprov'st me for it, — 
 
 Helicanus. Alas, sir ! 
 
 Pericles. Drew sleep out of mine eyes, blood from 
 my cheeks, 
 Musings into my mind, with thousand doubts 
 How I might stop this tempest ere it came ; 
 And finding little comfort to relieve them, 
 I thought it princely charity to grieve them. 100 
 
44 Pericles, Prince of Tyre [Act i 
 
 Helicanus. Well, my lord, since you have given me 
 
 leave to speak, 
 Freely will I speak. Antiochus you fear, 
 And justly too, I think, you fear the tyrant. 
 Who either by public war or private treason 
 Will take away your life. 
 Therefore, my lord, go travel for a while, 
 Till that his rage and anger be forgot, 
 Or till the Destinies do cut his thread of life. 
 Your rule direct to any ; if to me. 
 Day serves not light more faithful than I '11 be. no 
 
 Pericles. I do not doubt thy faith ; 
 But should he wrong my liberties in my absence ? 
 Helicanus. We '11 mingle our bloods together in the 
 
 earth, 
 From whence we had our being and our birth. 
 
 Pericles. Tyre, I now look from thee then, and to 
 
 Tarsus 
 Intend my travel, where I '11 hear from thee. 
 And by whose letters I '11 dispose myself. 
 The care I had and have of subjects' good 
 On thee I lay whose wisdom's strength can bear it. 
 I '11 take thy word for faith, not ask thine oath ; 120 
 
 Who shuns not to break one will sure crack both. 
 But in our orbs we '11 live so round and safe 
 That time of both this truth shall ne'er convince, — 
 Thou show'dst a subject's shine, I a true prince. 
 
 \_Exeunt. 
 
Scene III] Pericles, Prince of Tyre 45 
 
 Scene III. Tyre. An Ante-chamber in the Palace 
 
 Enter Thaliard 
 
 Thaliard. So, this is Tyre, and this the court. 
 Here must I kill King Pericles, and if I do not I 
 am sure to be hanged at home ; ' t is dangerous. — 
 Well, I perceive he was a wise fellow and had good 
 discretion that, being bid to ask what he would of 
 the king, desired he might know none of his secrets. 
 Now do I see he had some reason for 't ; for if a 
 king bid a man be a villain, he 's bound by the in- 
 denture of his oath to be one. — Hush ! here come 
 the lords of Tyre. 10 
 
 Enter Helicanus, Escanes, and other Lords 
 
 Helicanus. You shall not need, my fellow peers of 
 Tyre, 
 Further to question me of your king's departure ; 
 His seal'd commission, left in trust with me, 
 Doth speak sufficiently he 's gone to travel. 
 
 Thaliard. [Aside"] How ! the king gone ! 
 
 Helicanus. If further yet you will be satisfied 
 Why, as it were unlicens'd of your loves, 
 He would depart, I '11 give some light unto you. 
 Being at Antioch — 
 
 Thaliard. [Aside] What from Antioch ? 
 
 Helicamcs. Royal Antiochus — on what cause I know 
 not — 20 
 
 Took some displeasure at him ; at least he judg'd so, 
 
46 PericleSj Prince of Tyre [Act I 
 
 And doubting lest that he had err'd or sinn'd, 
 To show his sorrow, he 'd correct himself, 
 So puts himself unto the shipman's toil, 
 With whom each minute threatens life or death. 
 
 Thaliard. S^Aside\ Well, I perceive 
 I shall not be hang'd now% although I w^ould, 
 But since he 's gone, the king's ears it must please ; 
 He scap'd the land, to perish at the sea. 
 I '11 present myself. — Peace to the lords of Tyre ! 30 
 
 Helicamis. Lord Thaliard from Antiochus is welcome. 
 
 Thaliard. From him I come 
 With message unto princely Pericles ; 
 But since my landing I have understood 
 Your lord has betook himself to unknown travels, 
 My message must return from whence it came. 
 
 Helicanus. We have no reason to desire it, 
 Commended to our master, not to us ; 
 Yet, ere you shall depart, this we desire, 39 
 
 As friends to Antioch, we may feast in Tyre. \_Exeunt. 
 
 Scene IV. Tarsus. A Room in the Governor's House 
 Enter Cleon, Dionyza, and Attendants 
 
 Clean. My Dionyza, shall we rest us here. 
 And by relating tales of others' griefs 
 See if 't will teach us to forget our own ? 
 
 Dionyza. That were to blow a fire in hope to quench it ; 
 For who digs hills because they do aspire 
 Throws down one mountain to cast up a higher. 
 
Scene IV] PeHcles, Prince of Tyre 47 
 
 my distressed lord, even such our griefs ; 
 
 Here they 're but felt and seen with mischief's eyes, 
 But like to groves, being topp'd, they higher rise. 
 
 Clean. O Dionyza, * 10 
 
 Who wanteth food and will not say he wants it, 
 Or can conceal his hunger till he famish ? . 
 Our tongues and sorrows do sound deep 
 Our woes into the air ; our eyes do weep 
 Till tongues fetch breath that may proclaim them louder ; 
 That, if heaven slumber while their creatures want, 
 They may awake their helps to comfort them. 
 
 1 '11 then discourse our woes, felt several years. 
 And, wanting breath to speak, help me with tears. 
 
 Dionyza. I '11 do my best, sir. 20 
 
 Cleon. This Tarsus, o'er which I have the government, 
 A city on whom plenty held full hand. 
 For riches strew'd herself even in the streets ; 
 Whose towers bore heads so high they kiss'd the clouds, 
 And strangers ne'er beheld but wonder 'd at ; 
 Whose men and dames so jetted and adorn' d, 
 Like one another's glass to trim them by ; 
 Their tables were stor'd full, to glad the sight, 
 And not so much to feed on as delight ; 
 All poverty was scorn 'd, and pride so great 30 
 
 The name of help grew odious to repeat. 
 
 Dionyza. O, 'tis too true ! 
 
 Cleon. But see what heaven can do ! By this our 
 change. 
 These mouths, who but of late earth, sea, and air 
 
4-8 Pericles, Prince of Tyre [Act i 
 
 Were all too little to content and please, 
 
 Although they gave their creatures in abundance, 
 
 As houses are defil'd for want of use, 
 
 They are now starv'd for want of exercise ; 
 
 Those palates who, not yet two summers younger. 
 
 Must have inventions to delight the taste, 40 
 
 Would now be glad of bread, and beg for it ; 
 
 Those mothers who, to nousle up their babes. 
 
 Thought nought too curious, are ready now 
 
 To eat those little darlings whom they lov'd. 
 
 So sharp are hunger's teeth that man and wife 
 
 Draw lots who first shall die to lengthen life. 
 
 Here stands a lord, and there a lady weeping ; 
 
 Here many sink, yet those which see them fall 
 
 Have scarce strength left to give them burial. 
 
 Is not this true ? 50 
 
 JDionyza, Our cheeks and hollow eyes to witness it. 
 
 Cleon. O, let those cities that of plenty's cup 
 And her prosperities so largely taste, 
 With their superfluous riots, hear these tears ! 
 The misery of Tarsus may be theirs. 
 
 Enter a Lord 
 
 Lord. Where 's the lord governor ? 
 
 Cleon. Here. 
 Speak out thy sorrows which thou bring'st in haste, 
 For comfort is too far for us to expect. 
 
 Lord. We have descried, upon our neighbouring 
 shore, 60 
 
Scene IV] Pericles, Prince of Tyre 49 
 
 A portly sail of ships make hitherward. 
 
 Cleon. I thought as much. 
 One sorrow never comes but brings an heir] / 
 That may succeed as his inheritor ; ' ' 
 
 And so in ours. Some neighbouring nation, 
 Taking advantage of our misery, 
 Hath stuff 'd these hollow vessels with their power, 
 To beat us down the which are down already, 
 And make a conquest of unhappy me, 
 Whereas no glory 's got to overcome. 70 
 
 Lord. That 's the least fear ; for, by the semblance 
 Of their white flags display'd, they bring us peace. 
 And come to us as favourers, not as foes. 
 
 Cleon, Thou speak'st like him 's un tutor 'd to repeat ; 
 Who makes the fairest show means most deceit. 
 But bring they what they will and what they can, 
 What need we fear ? 
 
 The ground 's the lowest, and we are half way there. 
 Go tell their general we attend him here. 
 To know for what he comes, and whence he comes, 80 
 And what he craves. 
 
 Lord. I go, my lord. \_Exit. 
 
 Cleon. Welcome is peace, if he on peace consist ; 
 If wars, we are unable to resist. 
 
 Enter Pericles with Attendants 
 
 Pericles. Lord governor, for so we hear you are, 
 Let not our ships and number of our men 
 Be like a beacon fir'd to amaze your eyes. 
 
 PERICLES — 4 
 
^o Pericles, Prince of Tyre [Act I 
 
 We have heard your miseries as far as Tyre, 
 
 And seen the desolation of your streets ; 
 
 Nor come we to add sorrow to your tears, 90 
 
 But to relieve them of their heavy load ; 
 
 And these our ships, you happily may think 
 
 Are like the Trojan horse was stuff 'd within 
 
 With bloody veins, expecting overthrow, 
 
 Are stor'd with corn to make your needy bread. 
 
 And give them life whom hunger starv'd half dead. 
 
 A//. The gods of Greece protect you ! 
 And we '11 pray for you. 
 
 Pericles. Arise, I pray you, rise ; 
 
 We do not look for reverence, but for love. 
 And harbourage for ourself, our ships, and men. 100 
 
 Cleon. The which when any shall not gratify. 
 Or pay you with unthankfulness in thought, 
 Be it our wives, our children, or ourselves, 
 The curse of heaven and men succeed their evils ! 
 Till when — the which I hope shall ne'er be seen — 
 Your grace is welcome to our town and us. 
 
 Pericles. Which welcome we '11 accept ; feast here 
 awhile 
 Until our stars that frown lend us a smile. [Exeunt. 
 
Pericles and the Fishermen 
 
 ACT II 
 
 Enter Gower 
 
 Gower. Here have you seen a mighty king 
 His child, I wis, to incest bring ; 
 A better prince and benign lord, 
 That will prove awful both in deed and word. 
 Be quiet then as men should be, 
 Till he hath pass'd necessity. 
 I '11 show you those in troubles reign, 
 Losing a mite, a mountain gain. 
 
 51 
 
52 Pericles, Prince of Tyre [Act ii 
 
 The good in conversation, 
 
 To whom I give my benison, lo 
 
 Is still at Tarsus, where each man 
 
 Thinks all is writ he speken can, 
 
 And, to remember what he does, 
 
 Build his statue to make him glorious ; 
 
 But tidings to the contrary 
 
 Are brought your eyes, — what need speak I ? 
 
 Dumb Show 
 
 Enter at one door Pericles talking with Cleon ; all the 
 train with them. Enter at another door a Gentle- 
 man, with a letter to Pericles ; Pericles shows the 
 letter to Cleon ; gives the Messenger a reward, and 
 knights him. Exit Pericles at one door, and Cleon 
 at another 
 
 Good Helicane, that stay'd at home — 
 
 Not to eat honey like a drone 
 
 From others' labours, though he strive 
 
 To killen bad, keep good alive, 20 
 
 And to fulfil his prince' desire — 
 
 Sends word of all that haps in Tyre : 
 
 How Thaliard came full bent with sin 
 
 And had intent to murther him ; 
 
 And that in Tarsus was not best 
 
 Longer for him to make his rest. 
 
 He, doing so, put forth to seas. 
 
 Where when men been, there 's seldom ease ; 
 
Scene I] PeHcles, Prince of Tyre 53 
 
 For now the wind begins to blow ; 
 
 Thunder above and deeps below 30 
 
 Make such unquiet that the ship 
 
 Should house him safe is wrack'd and split ; 
 
 And he, good prince, having all lost, 
 
 By waves from coast to coast is tost. 
 
 All perishen of man, of pelf, 
 
 Ne aught escapen but himself ; 
 
 Till fortune, tir'd with doing bad. 
 
 Threw him ashore, to give him glad : 
 
 And here he comes. What shall be next, 39 
 
 Pardon old Gower, — this longs the text. [Exit, 
 
 Scene I. Pentapolis. An open Place by the Seaside 
 
 Enter Pericles, wet 
 
 Pericles. Yet cease your ire, you angry stars of 
 heaven ! 
 Wind, rain, and thunder, remember, earthly man 
 Is but a substance that must yield to you ; 
 And I, as fits my nature, do obey you. 
 Alas, the sea hath cast me on the rocks, 
 Wash'd me from shore to shore, and left me breath 
 Nothing to think on but ensuing death ! 
 Let it suffice the greatness of your powers 
 To have bereft a prince of all his fortunes ; 
 And having thrown him from your watery grave, 10 
 
 Here to have death in peace is all he '11 crave. 
 
54 Pericles, Prince of Tyre [Act il 
 
 Enter three Fishermen 
 
 1 Fisherman. What, ho, Pilch ! 
 
 2 Fisherman. Ha, come and bring away the nets ! 
 I Fisherman. What, Patch-breech, I say ! 
 
 3 Fishertnan. What say you, master ? 
 
 I Fisherman. Look how thou stirrest now ! come 
 away, or I '11 fetch thee with a wanion. 
 
 3 Fisherman. Faith, master, I am thinking of the 
 poor men that were cast away before us even 
 now. 2o 
 
 I Fisherman. Alas, poor souls, it grieved my heart 
 to hear what pitiful cries they made to us to help 
 them, when, well-a-day, we could scarce help our- 
 selves. 
 
 3 Fisherman. Nay, master, said not I as much 
 when I saw the porpus how he bounced and tum- 
 bled ? they say they 're half fish, half flesh ; a plague 
 on them, they ne'er come but I look to be washed. 
 Master, I marvel how the fishes live in the sea. 29 
 
 I Fisherman. Why, as men do a-land ; the great 
 ones eat up the little ones. I can compare our rich 
 misers to nothing so fitly as to a whale ; a' plays and 
 tumbles, driving the poor fry before him, and at last 
 devours them all at a mouthful. Such whales have 
 I heard on o' the land, who never leave gaping till 
 they 've swallowed the whole parish, church, steeple, 
 bells, and all. 
 
 Pericles. \Aside'\ A pretty moral. 
 
Scene I] Pericles, Prince of Tyre 55 
 
 3 Fisherman. But, master, if I had been the 
 sexton, I would have been that day in the belfry. 
 
 2 Fisherman. Why, man ? 41 
 
 3 Fisherman. Because he should have swallowed 
 me too ; and when I had been in his belly, I would 
 have kept such a jangling of the bells that he should 
 never have left till he cast bells, steeple, church, and 
 parish, up again. But if the good King Simonides 
 were of my mind, — 
 
 Pericles. [Aside] Simonides ! 
 
 3 Fisherman. We would purge the land of these 
 drones that rob the bee of her honey. 50 
 
 Pericles. [Aside] How from the finny subject of the 
 sea 
 These fishers tell the infirmities of men, 
 i\nd from their watery empire recollect 
 All that may men approve or men detect ! — 
 Peace be at your labour, honest fishermen. 
 
 2 Fisherman. Honest! good fellow, what's that? 
 If it be a day fits you, search out of the calendar, 
 and nobody look after it. 
 
 Pericles. You may see the sea hath cast me on your 
 coast. 
 
 2 Fisherman. What a drunken knave was the sea 
 to cast thee in our way ! 61 
 
 Pericles. A man whom both the waters and the wind, 
 In that vast tennis-court, hath made the ball 
 For them to play upon, entreats you pity him ; 
 He asks of you that never us'd to beg. 
 
56 Pericles, Prince of Tyre [Act 11 
 
 1 Fisherman. No, friend, cannot you beg? Here 's 
 them in our country of Greece gets more with begging 
 than we can do with working. 
 
 2 Fisherman. Canst thou catch any fishes then ? 
 Pericles. I never practis'd it. 70 
 2 Fisherman. Nay, then thou wilt starve, sure ; for 
 
 here 's nothing to be got now-a-days unless thou 
 canst fish for 't. 
 
 Pericles. What I have been I have forgot to know, 
 But what I am want teaches me to think on, — 
 A man throng'd up with cold ; my veins are chill, 
 And have no more of life than may suffice 
 To give my tongue that heat to ask your help, 
 Which if you shall refuse, when I am dead, 
 For that I am a man, pray see me buried. 80 
 
 1 Fisherman. Die, quoth-a ? Now gods forbid ! 
 I have a gown here ; come, put it on ; keep thee 
 warm. Now, afore me, a handsome fellow ! Come, 
 thou shalt go home, and we '11 have flesh for holi- 
 days, fish for fasting-days, and moreo'er puddings 
 and flapjacks, and thou shalt be welcome. 
 
 Pericles. I thank you, sir. 
 
 2 Fisherman. Hark you, my friend ; you said you 
 could not beg. 
 
 Pericles. I did but crave. 90 
 
 2 Fisherman. But crave ! Then I will turn craver 
 
 too, and so I shall scape whipping. 
 
 Pericles. Why, are all your beggars whipped 
 
 then? 
 
Scene I] Pericles, Prince of Tyre 57 
 
 2 Fisherman. O, not all, my friend, not all ; for if 
 all your beggars were whipped, I would wish no 
 better office than to be beadle. — But, master, I '11 
 go draw up the net. [Exeunt with Third Fisherman. 
 
 Pedicles. [Aside] How well this honest mirth be- 
 comes their labour ! 
 
 I Fisherman. Hark you, sir, do you know where 
 ye are ? loi 
 
 Pericles. Not well. 
 
 I Fisherman. Why, I '11 tell you : this is called 
 Pentapolis, and our king the good Simonides. 
 
 Pericles. The good King Simonides, do you call 
 him? 
 
 I Fisherman. Ay, sir ; and he deserves so to be 
 called for his peaceable reign and good govern- 
 ment. 
 
 Pericles. He is a happy king, since he gains from 
 his subjects the name of good by his government. 
 How far is his court distant from this shore ? 112 
 
 I Fishei'man. Marry, sir, half a day's journey ; 
 and I '11 tell you, he hath a fair daughter, and to- 
 morrow is her birth-day, and there are princes and 
 knights come from all parts of the world to just and 
 tourney for her love. 
 
 Pericles. Were my fortunes equal to my desires, I 
 could wish to make one there. 
 
 I Fisherinan. O, sir, things must be as they may ; 
 and what a man cannot get, he may lawfully deal 
 for . . . his wife's soul. 122 
 
J 8 Pericles, Prince of Tyre [Act ii 
 
 Re-enter Second and Third Fisherman, drawing up a 
 
 net 
 
 2 Fisherman, Help, master, help ! here 's a fish 
 hangs in the net, like a poor man's right in the law ; 
 't will hardly come out. Ha ! bots on 't, 't is come 
 at last, and 't is turned to a rusty armour. 
 
 Pericles. An armour, friends ! I pray you, let me 
 see it. — 
 Thanks, Fortune, yet, that, after all thy crosses. 
 Thou giv'st me somewhat to repair myself ; 
 And though it was mine own, part of my heritage, 
 Which my dead father did bequeath to me, 131 
 
 With this strict charge, even as he left his life, 
 ' Keep it, my Pericles ; it hath been a shield 
 'Twixt me and death ; ' — and pointed to this brace — 
 ' For that it sav'd me, keep it ; in like necessity — 
 The which the gods protect thee from ! — 't may de- 
 fend thee.' 
 It kept where I kept, I so dearly lov'd it. 
 Till the rough seas, that spare not any man. 
 Took it in rage, though calm'd have given 't again. . 
 I thank thee for 't ; my shipwrack now 's no ill, 140 
 
 Since I have here my father's gift in 's will. 
 
 I Fisherman. What mean you, sir ? 
 
 Pericles. To beg of you, kind friends, this coat of 
 worth, 
 For it was sometime target to a king ; 
 I know it by this mark. He lov'd me dearly, 
 
Scene I] Pericles, Prince of Tyre 59 
 
 And for his sake I wish the having of it, 
 
 And that you'd guide me to your sovereign's court, 
 
 Where with it I may appear a gentleman ; 
 
 And if that ever my low fortune 's better, 149 
 
 I '11 pay your bounties, till then rest your debtor. 
 
 I Fisherman. Why, wilt thou tourney for the lady ? 
 
 Pericles. I '11 show the virtue I have borne in arms. 
 
 1 Fisherman. Why, do 'e take it, and the gods 
 give thee good on 't ! 
 
 2 Fisherma?!. Ay, but hark you, my friend, 't was 
 we that made up this garment through the rough 
 seams of the waters ; there are certain condolements, 
 certain vails. I hope, sir, if you thrive, you '11 re- 
 member from whence you had it. 
 
 Pericles. Believe 't, I will. 160 
 
 By your furtherance I am cloth 'd in steel ; 
 And, spite of all the rapture of the sea, 
 This jewel holds his building on my arm. 
 Unto thy value I will mount myself 
 Upon a courser, whose delightful steps 
 Shall make the gazer joy to see him tread. 
 Only, my friend, I yet am unprovided 
 Of a pair of bases. 
 
 2 Fisherman. We '11 sure provide ; thou shalt 
 have my best gown to make thee a pair, and I '11 
 bring thee to the court myself. 171 
 
 Pericles. Then honour be but a goal to my will. 
 This day I '11 rise, or else add ill to ill. \Exeunt. 
 
6o Pericles, Prince of Tyre [Act ii 
 
 Scene II. The Same. A Platform leading to the Lists. 
 
 A Pavilion near it for the reception of the King, 
 Princess, Lords, etc. 
 
 Enter Simonides, Thaisa, Lords, and Attendants 
 
 Simonides. Are the knights ready to begin the 
 triumph ? 
 
 I Lord. They are, my liege, 
 And stay your coming to present themselves. 
 
 Simo7iides. Return them we are ready ; and our 
 daughter, 
 In honoijr of whose birth these triumphs are, 
 Sits here, like beauty's child, whom nature gat 
 For men to see, and seeing wonder at. \Exit a Lord. 
 
 Thaisa. It pleaseth you, my royal father, to express 
 My commendations great, whose merit 's less. 
 
 Simonides. It 's fit it should be so ; for princes are 
 A model which heaven makes like to itself. n 
 
 As jewels lose their glory if neglected. 
 So princes their renowns if not respected. 
 'T is now your honour, daughter, to interpret 
 The labour of each knight in his device. 
 
 Thaisa. Which, to preserve mine honour, I '11 per- 
 form. 
 
 Enter a Knight ; he passes over, and his Squire pre- 
 sents his shield to the Princess 
 
 Simonides. Who is the first that doth prefer himself? 
 Thaisa. A knight of Sparta, my renowned father, 
 
Scene II] Pericles, Prince of Tyre 6i 
 
 And the device he bears upon his shield 
 
 Is a black Ethiope reaching at the sun ; 20 
 
 The word, ' Lux tua vita mihi.' 
 
 Simonides. He loves you well that holds his life for 
 you. \The Second Knight passes over. 
 
 Who is the second that presents himself ? 
 
 Thaisa. A prince of Macedon, my royal father, 
 And the device he bears upon his shield 
 Is an arm'd knight that 's conquer'd by a lady ; 
 The motto thus, in Spanish, ' Piu por dulzura que por 
 fuerza.' \T^^ Third Knight passes over. 
 
 Simonides. And what 's the third ? 
 Thaisa. The third of Antioch, 
 
 And his device, a wreath of chivalry ; 
 The word, ' Me pompae provexit apex.' 30 
 
 \The Fourth Knight passes over, 
 Simonides. What is the fourth ? 
 
 Thaisa. A burning torch that 's turned upside down ; 
 The word, ' Quod me alit me extinguit.' 
 
 Simonides. Which shows that beauty hath his power 
 and will, 
 Which can as well inflame as it can kill. 
 
 \The Fifth Knight passes over. 
 Thaisa. The fifth, an hand environed with clouds, 
 Holding out gold that 's by the touchstone tried ; 
 The motto thus, ' Sic spectanda fides.' 
 
 \The Sixth Knight, Pericles, passes over. 
 Simonides. And what 's 
 The sixth and last, the which the knight himself 40 
 
62 Pericles, Prince of Tyre [Act ii 
 
 With such a graceful courtesy deliver'd ? 
 
 Thaisa. He seems to be a stranger, but his present is 
 A wither'd branch that 's only green at top ; 
 The motto, ' In hac spe vivo.' 
 
 Simonides. A pretty moral ; 
 From the dejected state wherein he is, 
 He hopes by you his fortunes yet may flourish. 
 
 1 Lord. He had need mean better than his outward 
 
 show 
 Can any way speak in his just commend ; 
 For by his rusty outside he appears 50 
 
 To have practis'd more the whipstock than the lance. 
 
 2 Lord. He well may be a stranger, for he comes 
 To an honour'd triumph strangely furnished. 
 
 3 Lord. And on set purpose let his armour rust 
 Until this day, to scour it in the dust. 
 
 Simonides. Opinion 's but a fool, that makes us scan 
 The outward habit by the inw^ard man. 
 But stay, the knights are coming ; we will withdraw 
 Into the gallery. S^Exeunt. 
 
 [ Great shouts within^ and all cry ' The mean knight ! ' 
 
 Scene III. The Same. A Hall of State : a Banquet 
 
 prepared 
 
 Enter Simonides, Thaisa, Lords, Knights, ^;/^ Attend- 
 ants 
 
 Simonides. Knights, 
 To say you 're welcome were superfluous. 
 
Scene III] Pericles, Prince of Tyre 6^ 
 
 To place upon the volume of your deeds, 
 As in a title-page, your worth in arms, 
 Were more than you expect, or more than 's fit, 
 Since every worth in show commends itself. 
 Prepare for mirth, for mirth becomes a feast; 
 You are princes and my guests. 
 
 Thais a. But you, my knight and guest, 
 To whom this wreath of victory I give, lo 
 
 And crown you king of this day's happiness. 
 
 Pericles. 'T is more by fortune, lady, than by merit. 
 
 Simonides. Call it by what you will, the day is yours ; 
 And here, I hope, is none that envies it. 
 In framing an artist, art hath thus decreed, 
 To make some good, but others to exceed ; 
 And you are her labour'd scholar. — Come, queen o' the 
 
 feast, — 
 For, daughter, so you are, — here take your place ; 
 Marshal the rest, as they deserve their grace. 
 
 Knights. We are honour'd much by good Simonides. 
 
 Simonides. Your presence glads our days ; honour we 
 love, 21 
 
 For who hates honour hates the gods above. 
 
 Marshal. Sir, yonder is your place. 
 
 Pericles. Some other is more fit. 
 
 I Knight. Contend not, sir ; for we are gentlemen 
 That neither in our hearts nor outward eyes 
 Envy the great nor do the low despise. 
 
 Pericles. You are right courteous knights. 
 
 Simonides. Sit, sir, sit. — 
 
64 Pericles, Prince of Tyre [Act 11 
 
 By Jove, I wonder, that is king of thoughts, 
 These cates resist me, he not thought upon. 
 
 Thaisa. By Juno, that is queen of marriage, 30 
 
 All viands that I eat do seem unsavoury, 
 Wishing him my meat. — Sure, he 's a gallant gentleman. 
 
 Simonides, He 's but a country gentleman, 
 Has done no more than other knights have done, 
 Has broken a staif or so ; so let it pass. 
 
 Thaisa. To me he seems like diamond to glass. 
 
 Pericles. Yon king 's to me like to my father's picture, 
 Which tells me in that glory once he was. 
 Had princes sit, like stars, about his throne. 
 And he the sun, for them to reverence. 40 
 
 None that beheld him but, like lesser lights, 
 Did vail their crowns to his supremacy. 
 Where now his son 's like a glow-worm in the night, 
 The which hath fire in darkness, none in light ; 
 Whereby I see that Time 's the king of men. 
 For he 's their parent, and he is their grave. 
 And gives them what he will, not what they crave. 
 
 Simonides. What, are you merry, knights ? 
 
 Knights. Who can be other in this royal presence ? 
 
 Simonides. Here, with a cup that 's stor'd unto the 
 brim, — 50 
 
 As you do love, fill to your mistress' lips, — 
 We drink this health to you. 
 
 Knights. We thank your grace. 
 
 Simonides. Yet pause awhile ; 
 Yon knight doth sit too melancholy, 
 
Scene III] Pericles, Prince of Tyre 65 
 
 As if the entertainment in our court 
 
 Had not a show might countervail his worth. — 
 
 Note it not you, Thaisa ? 
 
 Thaisa. What is it 
 
 To me, my father ? 
 
 Simonides. O, attend, my daughter: 
 
 Princes in this should live like gods above, 
 Who freely give to every one that comes 60 
 
 To honour them ; 
 
 And princes not doing so are like to gnats. 
 Which make a sound, but kill'd are wonder'd at. 
 Therefore to make his entrance more sweet. 
 Here, say we drink this standing-bowl of wine to him. 
 
 Thaisa. Alas, my father, it befits not me 
 Unto a stranger knight to be so bold. 
 He may my proffer take for an offence. 
 Since men take women's gifts for impudence. 
 
 Simonides. How ? 70 
 
 Do as I bid you, or you '11 move me else. 
 
 Thaisa. \_Aside\ Now, by the gods, he could not 
 please me better. 
 
 Simonides. And furthermore tell him, we desire to 
 know of him. 
 Of whence he is, his name and parentage. 
 
 Thaisa. The king my father, sir, has drunk to you. 
 
 Pericles. I thank him. 
 
 Thaisa. Wishing it so much blood unto your life. 
 
 Pericles. I thank both him and you, and pledge him 
 freely. 
 
 PERICLES — 5 
 
66 Pericles, Prince of Tyre [Act n 
 
 Thaisa, And further he desires to know of you, 
 Of whence you are, your name and parentage. 80 
 
 Pericles. A gentleman of Tyre ; my name, Pericles. 
 My education been in arts and arms, 
 Who, looking for adventures in the world, 
 Was by the rough seas reft of ships and men, 
 And after shipwrack driven upon this shore. 
 
 Thaisa. He thanks your grace, names himself Pericles, 
 A gentleman of Tyre, 
 Who only by misfortune of the seas 
 Bereft of ships and men, cast on this shore. 
 
 Simonides. Now, by the gods, I pity his misfortune, 
 And will awake him from his melancholy. — 91 
 
 Come, gentlemen, we sit too long on trifles, 
 And waste the time, which looks for other revels. 
 Even in your armours, as you are address'd, 
 Will very w^ell become a soldier's dance. 
 I will not have excuse, with saying this 
 Loud music is too harsh for ladies' heads, 
 Since they love men in arms as well as beds. — 
 
 \The Knights dance. 
 So, this was well ask'd, 't was so well perform 'd. — 
 Come, sir, 100 
 
 Here is a lady that wants breathing too ; 
 And I have heard, you knights of Tyre 
 Are excellent in making ladies trip. 
 And that their measures are as excellent. 
 
 Pericles. In those that practise them they are, my 
 lord. 
 
Scene IV] Pericles, Prince of Tyre 67 
 
 Simonides. O, that 's as much as you would be denied 
 Of your fair courtesy. — [ The Knights and Ladies dance. 
 
 Unclasp, unclasp. 
 Thanks, gentlemen, to all ; all have done well, — 
 \_To Pericles] But you the best. — Pages and lights, to 
 
 conduct 
 These knights unto their several lodgings ! — [To 
 Pericles'] Yours, sir, nc 
 
 We have given order to be next our own. 
 Pericles. I am at your grace's pleasure. 
 Simonides. Princes, it is too late to talk of love, 
 And that 's the mark I know you level at. 
 Therefore each one betake him to his rest ; 
 To-morrow all for speeding do their best. \_Exeunt. 
 
 Scene IV. Tyre. A Room in the Governor's House 
 
 Enter Helicanus and Escanes 
 
 Helicanus. No, Escanes, know this of me, 
 Antiochus from incest liv'd not free. 
 For which the most high gods not minding longer 
 To withhold the vengeance that they had in store. 
 Due to the heinous capital offence, 
 Even in the height and pride of all his glory. 
 When he was seated in a chariot 
 Of an inestimable value, and his daughter with him, 
 A fire from heaven came and shrivell'd up 
 Their bodies, even to loathing ; for they so stunk 10 
 That all those eyes ador'd them ere their fall 
 
68 Pericles, Prince of Tyre [Act ii 
 
 Scorn now their hand should give them burial. 
 
 Escafies. 'T was very strange. 
 
 Helicanus, And yet but justice, for though 
 
 This king were great, his greatness was no guard 
 To bar heaven's shaft, but sin had his reward. 
 
 Escanes. 'T is very true. 
 
 Enter two or three Lords 
 
 1 Lord. See, not a man in private conference 
 Or council has respect with him but he. 
 
 2 Lord. It shall no longer grieve without reproof. 
 
 3 Lord. And curs'd be he that will not second it. 20 
 I Lord. Follow me, then. — Lord Helicane, a word. 
 Helicanus. With me ? and welcome. — - Happy day, 
 
 my lords. 
 I Lord. Know that our griefs are risen to the top, 
 And now at length they overflow their banks. 
 
 He lie amis. Your griefs ! for what ? wrong not your 
 prince you love. 
 
 1 Lord. Wrong not yourself, then, noble Helicane ; 
 But if the prince do live, let us salute him. 
 
 Or know what ground 's made happy by his breath. 
 
 If in the world he live, we '11 seek him out ; 
 
 If in his grave he rest, we '11 find him there, 30 
 
 And be resolv'd he lives to govern us, 
 
 Or, dead, give 's cause to mourn his funeral. 
 
 And leave us to our free election. 
 
 2 Lord. Whose death indeed 's the strongest in our 
 
 censure ; 
 
Scene IV] Pericles, Prince of Tyre 69 
 
 And knowing this kingdom is without a head, — 
 Like goodly buildings left without a roof 
 Soon fall to ruin, — your noble self. 
 That best know how to rule and how to reign, 
 We thus submit unto, — our sovereign. 
 
 All. Live, noble Helicane ! 40 
 
 Helicanus. For honour's cause, forbear your suf- 
 frages ; 
 If that you love Prince Pericles, forbear. 
 Take I your wish, I leap into the seas. 
 Where 's hourly trouble for a minute's ease. 
 A twelvemonth longer, let me entreat you 
 To forbear the absence of your king, 
 If in which time expir'd he not return, 
 I shall with aged patience bear your yoke. 
 But if I cannot win you to this love, 
 Go search like nobles, like noble subjects, 50 
 
 And in your search spend your adventurous worth, 
 Whom if you find and win unto return, 
 You shall like diamonds sit about his crown. 
 
 I Lord. To wisdom he 's a fool that will not yield ; 
 And since Lord Helicane enjoineth us, 
 W^e with our travels will endeavour it. 
 
 Helicanus. Then you love us, we you, and we '11 clasp 
 hands ; 
 When peers thus knit, a kingdom ever stands. 
 
 \_Exeunt. 
 
70 Pericles, Prince of Tyre [Act II 
 
 Scene V. 'Pentapolis. A Room in the Palace 
 Enter Simonides, 7'eading a letter ; the Knights meet him 
 
 1 Knight. Good morrow to the goo^ Simonides. 
 Simonides. Knights, from my daughter this I let you 
 
 know, 
 That for this twelvemonth she '11 not undertake 
 A married life. 
 
 Her reason to herself is only known, 
 Which yet from her by no means can I get. 
 
 2 Knight. May we not get access to her, my lord ? 
 Simonides. Faith, by no means ; she hath so strictly 
 
 tied 
 Her to her chamber that 't is impossible. 
 One twelve moons more she '11 wear Diana's livery ; lo 
 This by the eye of Cynthia hath she vow'd, 
 And on her virgin honour will not break it. 
 
 3 Knight. Loath to bid farewell, we take our leaves. 
 
 \_Exetint Knights. 
 Simonides. So, 
 They are well dispatch'd ; now to my daughter's letter. 
 She tells me here, she '11 wed the stranger knight, 
 Or never more to view nor day nor light. 
 'T is well, mistress, your choice agrees with mine ; 
 I like that well. Nay, how absolute she 's in 't, 
 Not minding whether I dislike or no ! 20 
 
 Well, I do commend her choice. 
 And will no longer have it be delay'd. — 
 Soft ! here he comes ; I must dissemble it. 
 
Scene V] Pericles, Prince of Tyre 71 
 
 Enter Pericles 
 
 Pericles. All fortune to the good Simonides ! 
 
 Simonides. To you as much, sir ! I am beholding to 
 you 
 For your sweet music this last night ; I do 
 Protest, my ears were never better fed 
 With such delightful pleasing harmony. 
 
 Pericles. It is your grace's pleasure to commend, 
 Not my desert. 
 
 Simonides. Sir, you are music's master. 30 
 
 Pericles. The worst of all her scholars, my good 
 lord. 
 
 Simonides. Let me ask you one thing : 
 What do you think of my daughter, sir ? 
 
 Pericles. A most virtuous princess. 
 
 Simonides. And she is fair too, is she not? 
 
 Pericles. As a fair day in summer, wondrous fair. 
 
 Simonides. Sir, my daughter thinks very well of you. 
 Ay, so well that you must be her master. 
 And she will be your scholar ; therefore look to it. 
 
 Pericles. I am unworthy for her schoolmaster. 40 
 
 Simonides. She thinks not so ; peruse this writing- 
 else. 
 
 Pericles. [Aside] What 's here ? 
 A letter that she loves the knight of Tyre ! 
 'T is the king's subtility to have my life. — 
 O, seek not to entrap me, gracious lord, 
 A stranger and distressed gentleman. 
 
72 Pericles, Prince of Tyre [Act H 
 
 That never aim'd so high to love your daughter, 
 But bent all offices to honour her. 
 
 Simonides. Thou hast bewitch 'd my daughter, and 
 thou art 
 A villain. 50 
 
 Pericles. By the gods, I have not ; 
 Never did thought of mine levy offence, 
 Nor never did my actions yet commence 
 A deed might gain her love or your displeasure. 
 
 Simonides, Traitor, thou liest. 
 
 Pericles. Traitor ! 
 
 Simonides. Ay, traitor. 
 
 Pericles. Even in his throat — unless it be the king — 
 That calls me traitor, I return the lie. 
 
 Simonides. [Aside] Now, by the gods, I do applaud 
 his courage. 
 
 Pericles. My actions are as noble as my thoughts. 
 That never relish'd of a base descent. 60 
 
 I came unto your court for honour's cause, 
 And not to be a rebel to her state ; 
 And he that otherwise accounts of me, 
 This sword shall prove he 's honour's enemy. 
 
 Simonides. No ? — 
 Here comes my daughter, she can witness it. 
 
 Enter Thaisa 
 
 Pericles. Then, as you are as virtuous as fair, 
 Resolve your angry father if my tongue 
 Did e'er solicit or my hand subscribe 
 
Scene vj Pericles, Prince of Tyre 73 
 
 To any syllable that made love to you. 70 
 
 Thaisa. Why, sir, say if you had, 
 Who takes offence at that would make me glad ? 
 
 Simonides. Yea, mistress, are you so peremptory ? — 
 \Aside\ I am glad on 't with all my heart. — 
 I '11 tame you ; I '11 bring you in subjection. 
 Will you, not having my consent. 
 Bestow your love and your affections 
 Upon a stranger ? \aside\ who, for aught I know, 
 May be, nor can I think the contrary. 
 As great in blood as I myself. — 80 
 
 Therefore hear you, mistress ; either frame 
 Your will to mine, — and you, sir, hear you, 
 Either be rul'd by me, or I will make you — 
 Man and wife. — 
 
 Nay, come, your hands and lips must seal it too ; 
 And being join'd, I '11 thus your hopes destroy ; 
 And for a further grief, — God give you joy ! — 
 What, are you both pleas 'd ? 
 
 Thaisa. Yes, if you love me, sir. 
 
 Pericles. Even as my life, or blood that fosters it 
 
 Simonides. What, are you both agreed ? 90 
 
 Both. Yes, if it please your majesty. 
 
 Simonides. It pleaseth me so well that I will see you 
 wed ; 
 And then, with what haste you can, get you to bed. 
 
 [^Exeunt. 
 
The Shipwreck (Scene 2) 
 
 ACT III 
 
 Enter Gower 
 
 Gower. Now sleep yslaked hath the rout ; 
 No din but snores the house about, 
 Made louder by the o'er-fed breast 
 Of this most pompous marriage-feast. 
 The cat, with eyne of burning coal, 
 Now couches fore the mouse's hole ; 
 And crickets sing at the oven's mouth, 
 E'er the blither for their drouth. 
 Hymen hath brought the bride to bed, 
 Where, by the loss of maidenhead, 
 A babe is moulded. Be attent, 
 
 74 
 
 10 
 
Act III] Pericles, Prince of Tyre 75 
 
 And time that is so briefly spent 
 
 With your fine fancies quaintly eche ; 
 
 What 's dumb in show I '11 plain with speech. 
 
 Dumb Show 
 
 Enter Pericles and Simonides with Attendants ; a 
 Messenger meets them, kneels^ and gives Pericles a 
 letter ; Pericles shows it Simonides ; the Lords 
 kneel to him. Then enter Thaisa 7mth child ^ and 
 Lychorida. The King shows his daughter the 
 letter ; she rejoices : she and Pericles take leave of 
 her father, and depart with Lychorida and their 
 Attendants. Then exeunt Simonides and the rest 
 
 By many a dern and painful perch 
 
 Of Pericles the careful search, 
 
 By the four opposing coigns 
 
 Which the world together joins, * 
 
 Is made with all due diligence 
 
 That horse and sail and high expense 20 
 
 Can stead the quest. At last from Tyre, 
 
 Fame answering the most strange inquire, 
 
 To the court of King Simonides 
 
 Are letters brought, the tenor these : 
 
 Antiochus and his daughter dead ; 
 
 The men of Tyrus on the head 
 
 Of Helicanus would set on 
 
 The crown of Tyre, but he will none. 
 
 The mutiny he there hastes t' oppress, 
 
76 Pericles, Prince of Tyre [Act iii 
 
 Says to 'em, if King Pericles 30 
 
 Come not home in twice six moons, 
 
 He, obedient to their dooms. 
 
 Will take the crown. The sum of this, 
 
 Brought hither to Pentapolis, 
 
 Yravished the regions round. 
 
 And every one with claps can sound, 
 
 ' Our heir-apparent is a king ! 
 
 Who dream'd, who thought of such a thing ? ' 
 
 Brief, he must hence depart to Tyre ; 
 
 His queen with child makes her desire — 40 
 
 Which who shall cross ? — along to go. 
 
 Omit we all their dole and woe ; 
 
 Lychorida, her nurse, she takes. 
 
 And so to sea. Their vessel shakes 
 
 On Neptune's billow ; half the flood 
 
 Hath their keel cut ; but fortune's mood 
 
 Varies again ; the grisly north 
 
 Disgorges such a tempest forth 
 
 That, as a duck for life that dives. 
 
 So up and down the poor ship drives. 50 
 
 The lady shrieks, and well-a-near 
 
 Does fall in travail with her fear ; 
 
 And what ensues in this fell storm 
 
 Shall for itself itself perform. 
 
 I nill relate, action may 
 
 Conveniently the rest cdnvey, 
 
 Which might not what by me is told. 
 
 In your imagination hold 
 
Scene IJ Pericles, Prince of Tyre 77 
 
 This stage the ship, upon whose deck 59 
 
 The sea-tost Pericles appears to speak [Exit 
 
 Scene I 
 
 Enter Pericles, on shipboard 
 
 Pericles. Thou god of this great vast, rebuke these 
 surges 
 Which wash both heaven and hell ; and thou, that hast 
 Upon the winds command, bind them in brass. 
 Having call'd them from the deep ! O, still 
 Thy deafening, dreadful thunders ; gently quench 
 Thy nimble, sulphurous flashes ! O, how, Lychorida, 
 How does my queen ? — Thou stormest venomously ; 
 Wilt thou spet all thyself ? The seaman's whistle 
 Is as a whisper in the ears of death, 
 Unheard. — Lychorida ! — Lucina, O 10 
 
 Divinest patroness, and midwife gentle 
 To those that cry by night, convey thy deity 
 Aboard our dancing boat ; make swift the pangs 
 Of my queen's travail ! — 
 
 Enter Lychorida, with an Infant 
 
 Now, Lychorida ! 
 
 Lychorida. Here is a thing too young for such a place, 
 Who, if it had conceit, would die, as I 
 Am like to do. Take in your arms this piece 
 Of your dead queen. 
 
 Pericles. How, how, Lychorida ! 
 
7 8 Pericles, Prince of Tyre [Act ill 
 
 Lychorida. Patience, good sir ; do not assist the storm. 
 Here 's all that is left living of your queen, 20 
 
 A little daughter ; for the sake of it, 
 Be manly and take comfort. 
 
 Pericles. O you gods ! 
 
 Why do you make us love your goodly gifts, 
 And snatch them straight away ? We here below 
 Recall not what we give, and therein may 
 Vie honour with you. 
 
 Lychorida. Patience, good sir, 
 
 Even for this charge. 
 
 Perichs. Now, mild may be thy life! 
 
 For a more boisterous birth had never babe ; 
 Quiet and gentle thy conditions \ for 
 Thou art the rudeliest welcome to this world 30 
 
 That ever was prince's child. Happy what follows ! 
 Thou hast as chiding a nativity 
 As fire, air, water, earth, and heaven can make. 
 To herald thee from the womb ; even at the first 
 Thy loss is more than can thy portage quit, 
 With all thou canst find here. — Now, the good gods 
 Throw their best eyes upon 't ! 
 
 Enter two Sailors 
 
 I Sailor. What courage, sir ? God save you ! 
 
 Pericles. Courage enough ; I do not fear the flaw. 
 It hath done to me the worst. Yet, for the love 40 
 
 Of this poor infant, this fresh-new sea-farer, 
 I would it would be quiet. 
 
Scene I] Pericles, Prince of Tyre 79 
 
 1 Sailor. Slack the bolins there ! — Thou wilt not, 
 wilt thou ? Blow, and split thyself. 
 
 2 Sailor. But sea-room, an the brine and cloudy 
 billow kiss the moon, I care not. 
 
 I Sailor. Sir, your queen must overboard ; the sea 
 works high, the wind is loud, and will not lie till the 
 ship be cleared of the dead. 
 
 Pericles. That 's your superstition. 50 
 
 I Sailor. Pardon us, sir ; with us at sea it hath 
 been still observed, and we are strong in custom. 
 Therefore briefly yield her, for she must overboard 
 straight. 
 
 Pericles. As you think meet. — Most wretched 
 queen ! 
 
 Lychorida. Here she lies, sir. 
 
 Pericles. A terrible childbed hast thou had, my 
 dear : 
 No light, no fire ; the unfriendly elements 
 Forgot thee utterly ; nor have I time 
 To give thee hallow 'd to the grave, but straight 60 
 
 Must cast thee, scarcely coffin'd, in the ooze, 
 Where, for a monument upon thy bones. 
 And aye-remaining lamps, the belching whale 
 And humming water must o'erwhelm thy corpse, 
 Lying with simple shells. — O Lychorida, 
 Bid Nestor bring me spices, ink and paper, 
 My casket and my jewels ; and bid Nicander 
 Bring me the satin coffer ; lay the babe 
 Upon the pillow. Hie thee, whiles I say 
 
8o Pericles, Prince of Tyre [Act ill 
 
 A priestly farewell to her ; suddenly, woman. 
 
 \_Exit Lychorida. 
 
 2 Sailor. Sir, we have a chest beneath the hatches, 
 caulked and bitumed ready. 72 
 
 Pedicles. I thank thee. Mariner, say what coast is 
 this? 
 
 2 Sailor. We are near Tarsus. 
 
 Pericles. Thither, gentle mariner, 
 Alter thy course for Tyre. When canst thou reach it ? 
 
 2 Sailor. By break of day, if the wind cease. 
 
 Pericles. O, make for Tarsus ! — 
 There will I visit Cleon, for the babe 
 Cannot hold out to Tyrus ; there I '11 leave it 80 
 
 At careful nursing. — Go thy ways, good mariner ; 
 I '11 bring the body presently. [^Exeunt. 
 
 Scene II. Ephesus. A Room in Cerimofi's House 
 
 Enter Cerimon, with a Servant, a7id so??ie shipwrecked 
 
 Persons 
 
 Cerimon. Philemon, ho ! 
 
 Enter Philemon 
 
 Philemon. Doth my lord call ? 
 
 Cerimon. Get fire and meat for these poor men ; 
 'T has been a turbulent and stormy night. 
 
 Servant. I have been in many ; but such a night as 
 this 
 Till now I ne'er endur'd. 
 
Scene II] Pericles, Prince of Tyre 8i 
 
 Cerimon. Your master will be dead ere you return ; 
 There 's nothing can be minister'd to nature 
 That can recover him. — \To Philemon] Give this to 
 
 the pothecary, 
 And tell me how it works. [Exettnt all but Cerimon. 
 
 Enter two Gentlemen 
 
 1 Gentleman. Good morrow. lo 
 
 2 Gentleman. Good morrow to your lordship. 
 Cerimon. Gentlemen, 
 
 Why do you stir so early ? 
 
 1 Gentleman. Sir, 
 
 Our lodgings, standing bleak upon the sea, 
 Shook as the earth did quake ; 
 The very principals did seem to rend, 
 And all to topple ; pure surprise and fear 
 Made me to quit the house. 
 
 2 Gentleman. That is the cause we trouble you so 
 
 early ; 
 
 'T is not our husbandry. 
 
 Cerimon. O, you say well. 20 
 
 I Gentleman. But I much marvel that your lordship, 
 having 
 
 Rich tire about you, should at these early hours 
 
 Shake off the golden slumber of repose. 
 
 'T is most strange 
 
 Nature should be so conversant with pain. 
 
 Being thereto not compell'd. 
 
 Cerimon. I held it ever, 
 
 PERICLES — 6 
 
82 Pericles, Prince of Tyre [Act iii 
 
 Virtue and cunning were endowments greater 
 
 Than nobleness and riches ; careless heirs 
 
 May the two latter darken and expend, 
 
 But immortality attends the former, 30 
 
 Making a man a god. 'T is known I ever 
 
 Have studied physic, through which secret art, 
 
 By turning o'er authorities, I have, 
 
 Together with my practice, made familiar 
 
 To me and to my aid the blest infusions 
 
 That dwell in vegetives, in metals, stones, 
 
 And I can speak of the disturbances 
 
 That nature works, and of her cures ; which doth give me 
 
 A more content in course of true delight 
 
 Than to be thirsty after tottering honour, 40 
 
 Or tie my treasure up in silken bags. 
 
 To please the fool and death. 
 
 2 Gentleman. Your honour has through Ephesus 
 pour'd forth 
 Your charity, and hundreds call themselves 
 Your creatures, who by you have been restor'd ; 
 And not your knowledge, your personal pain, but even 
 Your purse, still open, hath built Lord Cerimon 
 Such strong renown as time shall never raze. 
 
 Enter two or three Servants with a chest 
 
 I Servant. So ; lift there. 
 Cerimon. What is that ? 
 
 I Servant. Sir, even now 
 
 Did the sea toss upon our shore this chest ; 50 
 
Scene iij Pericles, Prince of Tyre 83 
 
 'T is of some wrack. 
 
 Cerimon. Set't down, let 's look upon 't. 
 
 2 Gentleman. 'T is like a coffin, sir. 
 
 Cerimon. Whate'er it be, 
 
 'T is wondrous heavy. Wrench it open straight ; 
 If the sea's stomach be o'ercharg'd with gold, 
 'T is a good constraint of fortune it belches upon us. 
 
 2 Gentleman. 'T is so, my lord. 
 
 Cerimon. How close 't is caulk'd and bitum'd 1 
 
 Did the sea cast it up ? 
 
 1 Servant. I never saw so huge a billow, sir, 
 As toss'd it upon shore. 
 
 Cerimon. Wrench it open ; 
 
 Soft ! it smells most sweetly in my sense. 60 
 
 2 Gentleman. A delicate odour. 
 
 Cerimon. As ever hit my nostril. So up with it. — 
 O you most potent gods ! what 's here ? a corse ! 
 I Gentleman. Most strange ! 
 
 Cerimon. Shrouded in cloth of state, balm'd and en- 
 treasur'd 
 With full bags of spices ! A passport too I — 
 Apollo, perfect me in the characters ! 
 
 [Reads from a scroll 
 ' Here I give to understand. 
 If e''er this cofin drive a-land, 
 /, King Pericles, have lost 70 
 
 This queen, worth all our mundane cost. 
 Who finds her, give her burying ; 
 She was the daughter of a king. 
 
84 Pericles, Prince of Tyre [Act ill 
 
 Besides this treasure for a fee, 
 The gods 7-eqiiite his charity / ' 
 If thou liv'st, Pericles, thou hast a heart 
 That even cracks for woe ! This chanc'd to-night. 
 
 2 Gentleman. Most Hkely, sir. 
 
 Cerimon. Nay, certainly to-night ; 
 
 For look how fresh she looks ! They were too rough 
 That threw her in the sea. — Make a fire within ; 80 
 Fetch hither all my boxes in my closet. — \Exita Servant. 
 Death may usurp on nature many hours, 
 And yet the fire of life kindle again 
 The o'erpress'd spirits. I heard of an Egyptian 
 That had nine hours lien dead, 
 Who was by good appliance recovered. — 
 
 Re-enter a Servant, with boxes, fiapkitis^ and fire 
 
 Well said, well said ; the fire and cloths. — 
 
 The rough and woeful music that we have. 
 
 Cause it to sound, beseech you. — 
 
 The vial once more. — How thou stirr'st, thou block! — 
 
 The music there ! — I pray you, give her air. — 91 
 
 Gentlemen, 
 
 This queen will live ; nature awakes, a warmth 
 
 Breathes out of her. She hath not been entranc'd 
 
 Above five hours ; see how she gins to blow 
 
 Into life's flower again ! 
 
 I Gentleman. The heavens 
 
 Through you increase our wonder and set up 
 Your fame for ever. 
 
Scene III] Pericles, Prince of Tyre 85 
 
 Cerimon. She is alive ; behold, 
 
 Her eyelids, cases to those heavenly jewels 
 Which Pericles hath lost, 100 
 
 Begin to part their fringes of bright gold ; 
 The diamonds of a most praised water 
 Do appear, to make the world twice rich. — Live, 
 And make us weep to hear your fate, fair creature, 
 Rare as you seem to be. [She moves. 
 
 Thaisa. O dear Diana, 
 
 Where am I ? Where 's my lord ? What world is this ? 
 
 2 Gentleman. Is not this strange ? 
 
 I Gentleman. Most rare. 
 
 Cerimon. Hush, my gentle neighbours ! 
 
 Lend me your hands ; to the next chamber bear her. 
 Get linen ; now this matter must be look'd to, 
 For her relapse is mortal. Come, come ; no 
 
 And ^sculapius guide us ! 
 
 [Exeunt, carrying her away. 
 
 Scene III. Tarsus. A Room in Cleon''s House 
 
 Enter Pericles, Cleon, Dionyza, and Lychorida 
 with Marina in her arms 
 
 Pericles. Most honour 'd Cleon, I must needs be gone ; 
 My twelve months are expir'd, and Tyrus stands 
 In a litigious peace. You, and your lady. 
 Take from my heart all thankfulness ! The gods 
 Make up the rest upon you ! 
 
86 Pericles, Prince of Tyre [Act m 
 
 Clean. Your shafts of fortune, though they hurt you 
 mortally, 
 Yet glance full wanderingly on us. 
 
 Dionyza. O your sweet queen ! 
 
 That the strict fates had pleas 'd you had brought her 
 
 hither, 
 To have bless 'd mine eyes with her ! 
 
 Pericles. We cannot but obey 
 
 The powers above us. Could I rage and roar lo 
 
 As doth the sea she lies in, yet the end 
 Must be as 't is. My gentle babe Marina — whom, 
 For she was born at sea, I have nam'd so — here 
 I charge your charity withal, leaving her 
 The infant of your care ; beseeching you 
 To give her princely training, that she may be 
 Manner'd as she is born. 
 
 Cleon. Fear not, my lord, but think 
 
 Your grace, that fed my country with your corn, 
 For which the people's prayers still fall upon you, 
 Must in your child be thought on. If neglection 20 
 Should therein make me vile, the common body, 
 By you reliev'd, would force me to my duty ; 
 But if to that my nature need a spur. 
 The gods revenge it upon me and mine 
 To the end of generation ! 
 
 Pericles. I believe you ; 
 
 Your honour and your goodness teach me to 't 
 Without your vow. — Till she be married, madam, 
 By bright Diana, whom we honour, all 
 
Scene IV] Pericles, Prince of Tyre 87 
 
 Unscissar'd shall this hair of mine remain, 
 
 Though I show ill in 't. So I take my leave. 30 
 
 Good madam, make me blessed in your care 
 
 In bringing up my child. • 
 
 Dionyza. I have one myself 
 
 Who shall not be more dear to my respect 
 Than yours, my lord. 
 
 Pericles, Madam, my thanks and prayers. 
 
 Clean. We '11 bring your grace e'en to the edge o' 
 the shore, 
 Then give you up to the mask'd Neptune and 
 The gentlest winds of heaven. 
 
 Pericles. I will embrace 
 
 Your offer. — Come, dear'st madam. — O, no tears, 
 Lychorida, no tears ! 
 
 Look to your little mistress, on whose grace 40 
 
 You may depend hereafter. — Come, my lord. [Exeunt. 
 
 Scene IV. Ephesus. A Room in Cerimon's House 
 Enter Cerimon and Thaisa 
 
 Cerimon. Madam, this letter, and some certain jewels. 
 Lay with you in your coffer, which are now 
 At your command. Know you the character ? 
 
 Thaisa. It is my lord's. 
 That I was shipp'd at sea I well remember. 
 Even on my eaning time, but whether there 
 Deliver'd, by the holy gods, 
 I cannot rightly say. But since King Pericles, 
 
88 Pericles, Prince of Tyre [Act ill 
 
 My wedded lord, I ne'er shall see again, 
 
 A vestal livery will I take me to lo 
 
 And never more have joy. 
 
 Cerimon. Madam, if this you purpose as you speak, 
 Diana's temple is not distant far, 
 Where you may abide till your date expire. 
 Moreover, if you please, a niece of mine 
 Shall there attend you. 
 
 Thaisa. My recompense is thanks, that 's all ; 
 Yet my good will is great, though the gift small. [Exeunt. 
 
Marina (Scene i) 
 
 ACT IV 
 
 Enter Gower 
 
 Gower. Imagine Pericles arriv'd at Tyre, 
 Welcom'd and settled to his own desire. 
 His woeful queen we leave at Ephesus, 
 Unto Diana there a votaress. 
 Now to Marina bend your mind, 
 Whom our fast-growing scene must find 
 
 89 
 
90 Pericles, Prince of Tyre [Act iv 
 
 At Tarsus, and by Cleon train 'd 
 
 In music, letters ; who hath gain'd 
 
 Of education all the grace 
 
 Which makes her both the heart and place lo 
 
 Of general wonder. But, alack, 
 
 That monster envy, oft the wrack 
 
 Of earned praise, Marina's life 
 
 Seeks to take off by treason's knife ! 
 
 And in this kind hath our Cleon 
 
 One daughter, and a wench full grown. 
 
 Even ripe for marriage-rite. This maid 
 
 Hight Philoten, and it is said 
 
 For certain in our story she 
 
 Would ever with Marina be ; 20 
 
 But when she weav'd the sleided silk 
 
 With fingers long, small, white as milk, 
 
 Or when she would with sharp needle wound 
 
 The cambric, which she made more sound 
 
 By hurting it ; or when to the lute 
 
 She sung, and made the night-bird mute 
 
 That still records with moan ; or when 
 
 She would with rich and constant pen 
 
 Vail to her mistress Dian ; still 
 
 This Philoten contends in skill 30 
 
 With absolute Marina. So 
 
 With the dove of Paphos might the crow 
 
 Vie feathers white. Marina gets 
 
 All praises, which are paid as debts. 
 
 And not as given. This so darks 
 
Scene I] Fericles, Prince of Tyre 91 
 
 In Philoten all graceful marks 
 
 That Cleon's wife, with envy rare, 
 
 A present murtherer does prepare 
 
 For good Marina, that her daughter 
 
 Might stand peerless by this slaughter. 40 
 
 The sooner her vile thoughts to stead, 
 
 Lychorida, our nurse, is dead ; 
 
 And cursed Dionyza hath 
 
 The pregnant instrument of wrath 
 
 Prest for this blow. The unborn event 
 
 I do commend to your content ; 
 
 Only I carry winged time 
 
 Post on the lame feet of my rhyme, 
 
 Which never could I so convey 
 
 Unless your thoughts went on my way. 50 
 
 Dionyza does appear, 
 
 With Leonine, a murtherer. [Exit. 
 
 Scene I. Tarsus. An open Place near the Sea-shore 
 
 Enter Dionyza and Leonine 
 
 Dionyza. Thy oath remember ; thou hast sworn 
 to do 't. 
 'T is but a blow which never shall be known. 
 Thou canst not do a thing in the world so soon. 
 To yield thee so much profit. Let not conscience, 
 Which is but cold, inflaming love i' thy bosom, 
 Inflame too nicely ; nor let pity, which 
 
92 Pericles, Prince of Tyre [Act iv 
 
 Even women have cast off, melt thee, but be 
 A soldier to thy purpose. 
 
 Leonine. I will do 't ; but yet she is a goodly 
 creature. 9 
 
 Dionyza. The fitter, then, the gods should have 
 her. Here she comes weeping for her old nurse's 
 death. Thou art resolved ? 
 
 Leonine. I am resolved. 
 
 Enter Marina, with a basket of flowers 
 
 Marina. No, I will rob Tellus of her weed, 
 To strew thy green with flowers ; the yellows, blues, 
 The purple violets, and marigolds, 
 Shall as a carpet hang upon thy grave 
 While summer-days do last. — Ay me ! poor maid, 
 Born in a tempest when my mother died. 
 This world to me is like a lasting storm, 20 
 
 Whirring me from my friends. 
 
 Dionyza. How now, Marina ? why do you keep 
 alone ? 
 How chance my daughter is not with you ? Do not 
 Consume your blood with sorrowing ; you have 
 A nurse of me. Lord, how your favour 's chang'd 
 With this unprofitable woe ! 
 
 Come, give me your flowers, ere the sea mar them. 
 Walk with Leonine ; the air is quick there, 
 And it pierces and sharpens the stomach. — Come, 
 Leonine, take her by the arm, walk with her. 30 
 
 Marina. No, I pray you ; 
 
Scene I] Pericles, Prince of Tyre 93 
 
 I '11 not bereave you of your servant. 
 
 Dionyza. Come, come ; 
 
 I love the king your father and yourself 
 With more than foreign heart. We every day 
 Expect him here ; when he shall come and find 
 Our paragon to all reports thus blasted, 
 He will repent the breadth of his great voyage. 
 Blame both my lord and me, that we have taken 
 No care to your best courses. Go, I pray you, 
 Walk, and be cheerful once again ; reserve 40 
 
 That excellent complexion, which did steal 
 The eyes of young and old. Care not for me ; 
 I can go home alone. 
 
 Marina. Well, I will go, 
 
 But yet I have no desire to it. 
 
 Dionyza. Come, come, I know 't is good for you. — 
 Walk half an hour. Leonine, at the least. 
 Remember what I have said. 
 
 Leonine. I warrant you, madam. 
 
 Diofiyza. I '11 leave you, my sweet lady, for a while. 
 Pray, walk softly, do not heat your blood ; 
 What ! I must have a care of you. 
 
 Marina. My thanks, sweet madam. — 
 
 \_Exit Dionyza. 
 Is this wind westerly that blows ? 
 
 Leonine. South-west. 51 
 
 Marina. When I was born, the wind was north. 
 
 Leonine. Was 't so ? 
 
 Marina. My father, as nurse said, did never fear, 
 
94 Pericles, Prince of Tyre [Act iv 
 
 But cried ' Good seamen ! ' to the sailors, galling 
 His kingly hands, haling ropes, 
 And, clasping to the mast, endur'd a sea 
 That almost burst the deck. 
 
 Leonine. When was this ? 
 
 Marina. When I was born. 
 Never was waves nor wind more violent ; 60 
 
 And from the ladder-tackle washes off 
 A canvas-climber. ' Ha ! ' says one, ' wilt out 1 ' 
 And with a dropping industry they skip 
 From stem to stern ; the boatswain whistles, and 
 The master calls and trebles their confusion. 
 
 Leonine. Come, say your prayers. 
 
 Marina. What mean you ? 
 
 Leonine. If you require a little space for prayer, 
 I grant it ; pray, but be not tedious, 
 For the gods are quick of ear and I am sworn 70 
 
 To do my work with haste. 
 
 Marina. Why will you kill me ? 
 
 Leonine. To satisfy my lady. 
 
 Marina. Why would she have me kill'd ? 
 Now, as I can remember, by my troth, 
 I never did her hurt in all my life ; 
 I never spake bad v/ord, nor did ill turn 
 To any living creature ; believe me, la, 
 I never kill'd a mouse nor hurt a fly. 
 I trod upon a worm against my will, 
 But I wept for it. How have I offended, 80 
 
 Wherein my death might yield her any profit, 
 
Scene I] Pericles, Prince of Tyre 95 
 
 Or my life imply her any danger ? 
 
 Leonine. My commission 
 Is not to reason of the deed, but do it. 
 
 Marina. You will not do 't for all the world, I hope. 
 You are well favour'd, and your looks foreshow 
 You have a gentle heart. I saw you lately 
 When you caught hurt in parting two that fought. 
 Good sooth, it show'd well in you ; do so now. 
 Your lady seeks my life ; come you between, 90 
 
 And save poor me, the weaker. 
 
 Leonine. I am sworn, 
 
 And will dispatch. \He seizes her. 
 
 Enter Pirates 
 
 1 Pirate. Hold, villain ! \Leonine runs away. 
 
 2 Pirate. A prize ! a prize ! 
 
 3 Pirate. Half-part, mates, half-part ! Come, let 's 
 have her aboard suddenly. 
 
 [Exeunt Pirates with Marina. 
 
 Re-enter Leonine 
 
 Leonine. These roguing thieves serve the great pirate 
 Valdes, 
 And they have seiz'd Marina. Let her go ; 
 There 's no hope she will return, I '11 swear she 's dead 
 And thrown into the sea. — But I '11 see further ; 100 
 Perhaps they will but please themselves upon her, 
 Not carry her aboard. If she remain. 
 Whom they have ravish 'd must by me be slain, \_Exit. 
 
96 Pericles, Prince of Tyre [Act IV 
 
 Scene II. Mytilene. A Room in a Brothel 
 Enter Pandar, Bawd, and Boult 
 
 Pandar. Boult ! 
 
 Boult. Sir ? 
 
 Pandar. Search the market narrowly ; Mytilene 
 is full of gallants. We lost too much money this 
 mart by being too wenchless. 
 
 Boult. I 'II go search the market. \Exit. 
 
 Pandar. Three or four thousand chequins were as 
 pretty a proportion to live quietly, and so give over. 
 
 Bawd. Why to give over, I pray you ? is jt a shame 
 to get when we are old ? 10 
 
 Pandar. O, our credit comes not in like the 
 commodity, nor the commodity wages not with the 
 danger; therefore, if in our youths we could pick 
 up some pretty estate, 't were not amiss to keep 
 our door hatched. Besides, the sore terms we 
 stand upon with the gods will be strong with us 
 for giving over. 
 
 Bawd. Come, other sorts offend as well as we. 
 
 Pandar. As well as we ! ay, and better too ; we 
 offend worse. Neither is our profession any trade ; 20 
 it 's no calling. But here comes Boult. 
 
 Re-enter Boult, with the Pirates and Marina 
 
 Bawd. [To Marina'] Come your ways. — My mas- 
 ters, you say she 's a virgin ? 
 
 I Pirate. O, sir, we doubt it not. 
 
Scene II] Pericles, Prince of Tyre 97 
 
 Boult. Master, I have gone through for this piece, 
 you see. If you Hke her, so ; if not, I have lost my 
 earnest. 
 
 Bawd. Boult, has she any qualities ? 
 
 Boult. She has a good face, speaks well, and has 
 excellent good clothes ; there 's no further necessity 30 
 of qualities can make her be refused. 
 
 Bawd. What 's her price, Boult ? 
 
 Boult. I cannot be bated one doit of a thousand 
 pieces. 
 
 Bandar. Well, follow me, my masters, you shall 
 have your money presently. — Wife, take her in. 
 
 \Exeunt Boult, Bandar, and Birates. 
 
 Marina. Alack that Leonine was so slack, so slow ! 
 He should have struck, not spoke ; or that these pirates. 
 Not enough barbarous, had not o'erboard thrown me 
 For to seek my mother. 40 
 
 Bawd. Why lament you, pretty one ? 
 
 Marina. That I am pretty. 
 
 Bawd. Come, the gods have done their part in you. 
 
 Marina. I accuse them not. 
 
 Bawd. You are lit into my hands, where you are 
 ike to live. 
 
 Marina. The more my fault, 
 To scape his hands where I was like to die. 
 
 Bawd. Ay, and you shall live in pleasure. 
 
 Marina. No. 50 
 
 Bawd. Yes, indeed shall you ; you shall fare well. 
 What ! do you stop your ears ? 
 
 PERICLES — 7 
 
98 Pericles, Prince of Tyre [Act iv 
 
 Marina. Are you a woman ? 
 
 Bawd. What would you have me be, an I be not 
 a woman ? 
 
 Marina. An honest woman, or not a woman. 
 
 Bawd. Marry, whip thee, gosling ; I think I shall 
 have something to do with you. Come, you 're a 
 young foolish sapling, and must be bowed as I would 
 have you. 60 
 
 Marina. The gods defend me ! 
 
 Bawd. Come your ways ; follow me. [Exeunt. 
 
 Scene III. Tarsus. A Room in Cleon^s House 
 Enter Cleon and Dionyza 
 
 Dionyza. Why, are you foolish ? Can it be undone ? 
 
 Cleon. O Dionyza, such a piece of slaughter 
 The sun and moon ne'er look'd upon ! 
 
 Dionyza. I think 
 
 You '11 turn a child again. 
 
 Cleon. Were I chief lord of all this spacious world, 
 I 'd give it to undo the deed. O lady, 
 Much less in blood than virtue, yet a princess 
 To equal any single crown o' the earth 
 I' the justice of compare ! O villain Leonine ! 
 Whom thou hast poison'd too. 10 
 
 If thou hadst drunk to him, 't had been a kindness 
 Becoming well thy fact ; what canst thou say 
 When noble Pericles shall demand his child ? 
 
 Dionyza. That she is dead. Nurses are not the fates, 
 
Scene III] Pericles, Prince of Tyre 99 
 
 To foster it, nor ever to preserve. 
 
 She died at night ; I '11 say so. Who can cross it ? 
 
 Unless you play the pious innocent, 
 
 And for an honest attribute cry out 
 
 ' She died by foul play.' 
 
 Clean. O, go to ! Well, well, 
 
 Of all the faults beneath the heavens, the gods 20 
 
 Do like this worst. 
 
 Dionyza. Be one of those that think 
 
 The petty wrens of Tarsus will fly hence 
 And open this to Pericles. I do shame 
 To think of what a noble strain you are, 
 And of how coward a spirit. 
 
 Cleon. To such proceeding 
 
 Who ever but his approbation added, 
 Though not his prime consent, he did not flow 
 From honourable sources. 
 
 Dionyza. Be it so, then ; 
 
 Yet none does know but you how she came dead. 
 Nor none can know, Leonine being gone. 30 
 
 She did disdain my child, and stood between 
 Her and her fortunes ; none would look on her, 
 But cast their gazes on Marina's face, 
 Whilst ours was blurted at and held a malkin 
 Not worth the time of day. It pierc'd me thorough ; 
 And though you call my course unnatural. 
 You not your child well loving, yet I find 
 It greets me as an enterprise of kindness 
 Perform 'd to your sole daughter. 
 
lOO Pericles, Prince of Tyre [Act IV 
 
 Cleon. Heavens forgive it ! 
 
 Dionyza, And as for Pericles, 40 
 
 What should he say ? We wept after her hearse, 
 And yet we mourn ; her monument 
 Is ahnost finish 'd, and her epitaphs 
 In glittering golden characters express 
 A general praise to her, and care in us 
 At whose expense 't is done. 
 
 Cleon. Thou art like the harpy, 
 
 Which, to betray, dost, with thine angel's face, 
 Seize with thine eagle's talons. 
 
 Dionyza. You are like one that superstitiously 
 Doth swear to the gods that winter kills the flies ; 50 
 But yet I know you '11 do as I advise. [Exeunt. 
 
 Scene IV 
 
 Enter Gower, before the Monument of Marina at 
 
 Tarsus 
 
 Gower. Thus time we waste and longest leagues 
 make short, 
 Sail seas in cockles, have an wish but for 't ; 
 Making, to take your imagination, 
 From bourn to bourn, region to region. 
 By you being pardon'd, we commit no crime 
 To use one language in each several clime 
 Where our scenes seem to live. I do beseech you 
 To learn of me, who stand i' the gaps to teach you, 
 The stages of our story. Pericles 
 
Scene IV] Pericles, Prince of Tyre loi 
 
 Is now again thwarting the wayward seas, lo 
 
 Attended on by many a lord and knight, 
 
 To see his daughter, all his life's delight. 
 
 Old Escanes, whom Helicanus late 
 
 Advanc'd in time to great and high estate, 
 
 Is left to govern. Bear you it in mind, 
 
 Old Helicanus goes along behind. 
 
 Well-sailing ships and bounteous winds have brought 
 
 This king to Tarsus, — think his pilot thought ; 
 
 So with his steerage shall your thoughts grow on, — 
 
 To fetch his daughter home, who first is gone. 20 
 
 Like motes and shadows see them move awhile ; 
 
 Your ears unto your eyes I '11 reconcile. 
 
 Dumb Show 
 
 Enter Pericles, at one door, with all his train; Cleon 
 and DiONYZA, at the other. Cleon shows Pericles 
 the tomb ; whereat Pericles snakes lamentation, puts 
 on sackcloth, and in a mighty passion departs. Then 
 exeunt Cleon and Dionyza 
 
 See how belief may suffer by foul show ! 
 
 This borrow'd passion stands for true old woe ; 
 
 And Pericles, in sorrow all devour'd, 
 
 With sighs shot through and biggest tears o'ershower'd. 
 
 Leaves Tarsus and again embarks. He swears 
 
 Never to wash his face, nor cut his hairs ; 
 
 He puts on sackcloth, and to sea. He bears 
 
 A tempest, which his mortal vessel tears, 30 
 
102 Pericles, Prince of Tyre [Act iv 
 
 And yet he rides it out. Now please you wit 
 
 The epitaph is for Marina writ 
 
 By wicked Dionyza. 
 
 [_Reads the inscription on Marina's monument. 
 ^ The fairest, sweefst, and best lies here, 
 Who withered in her spiking of year. 
 She was of Tyrus the king's daughter, 
 On whom foul death hath made this slaughter. 
 Marina was she calPd, and at her birth, 
 Thetis, being pi'oud, swallow'' d some part o'^ the earth. 
 Therefore the earth, fearing to be o''erflow''d, 40 
 
 Hath Thetis'' bij'th-child on the heavens bestow'' d; 
 Wherefore she does, and swears she ''II never stint, 
 Make raging battery upon shores of fiint.^ 
 
 No visor does become black villany 
 
 So well as soft and tender flattery. 
 
 Let Pericles believe his daughter 's dead, 
 
 And bear his courses to be ordered 
 
 By Lady Fortune ; while our scene must play 
 
 His daughter's woe and heavy well-a-day 
 
 In her unholy service. Patience, then, 50 
 
 And think you now are all in Mytilene. \JSxit. 
 
 Scene V. Mytilene. A Street before the Brothel 
 Enter ^ from the brothel, two Gentlemen 
 
 1 Gentleman. Did you ever hear the like ? 
 
 2 Gentleman. No, nor never shall do in such a 
 place as this, she being once gone. 
 
Scene VI] Pericles, Prince of Tyre 103 
 
 1 Gentleman. But to have divinity preached there ! 
 did you ever dream of such a thing ? 
 
 2 Gentleman. No, no. Come, I am for no more 
 bawdy-houses ; shall 's go hear the vestals sing ? 
 
 I Gentleman. I '11 do any thing now that is vir- 
 tuous. [Exeunt. 
 
 Scene VI. The Same. A Room in the Brothel 
 Enter Pandar, Bawd, and Boult 
 
 Fandar. Well, I had rather than twice the worth 
 of her she had ne'er come here. 
 
 Bawd. Fie, fie upon her ! she has me her quirks, 
 her reasons, her master reasons, her prayers, her 
 knees ; that she would make a puritan of the devil, 
 if he should cheapen a kiss of her. — Here comes 
 the Lord Lysimachus disguised. 
 
 Boult. We should have both lord and lown, if the 
 peevish baggage would but give way to customers. 
 
 Enter Lysimachus 
 
 Lysimachus. How now ! How a dozen of vir- 
 ginities ? II 
 
 Bawd. Now, the gods to-bless your honour ! 
 
 Boult. I am glad to see your honour in good health. 
 
 Lysimachus. You may so ; 't is the better for you 
 that your resorters stand upon sound legs. How now, 
 wholesome iniquity ! have you that a man may deal 
 withal, and defy the surgeon ? 
 
I04 Pericles, Prince of Tyre [Act iv 
 
 Bawd. We have here one, sir, if she would — but 
 there never came her Hke in Mytilene. 19 
 
 Lysimachus. Well, call forth, call forth. \_Exit Boult. 
 
 Bawd. For flesh and blood, sir, white and red, 
 you shall see a rose ; and she were a rose indeed if 
 she had but — 
 
 Lysimachus. What, prithee ? 
 
 Bawd. O, sir, I can be modest. — Here comes 
 that which grows to the stalk; never plucked yet, 
 I can assure you. 
 
 Re-enter Boult with Marina 
 
 Is she not a fair creature ? 
 
 Lysimachus. Faith, she would serve after a long 
 voyage at sea. Well, there 's for you ; leave us. 30 
 
 Bawd. I beseech your honour, give me leave ; a 
 word, and I '11 have done presently. 
 
 Lysimachus. I beseech you, do. 
 
 Bawd. [To Marinci\ First, I would have you 
 note, this is an honourable man. 
 
 Marina. I desire to find him so, that I may wor- 
 thily note him. 
 
 Bawd. Next, he 's the governor of this country, 
 and a man whom I am bound to. 
 
 Marina. If he govern the country, you are bound 
 to him indeed ; but how honourable he is in that, I 
 know not. 42 
 
 Bawd. Pray you, without any more virginal fenc- 
 ing, will you use him kindly ? He will line your 
 apron with gold. 
 
Scene VI] Pericles^ Prince of Tyre 105 
 
 Marina. What he will do graciously, I will 
 thankfully receive. 
 
 Lysiinachus. Ha' you done ? 
 
 Bawd, Come, we will leave his honour and her 
 together. Go thy ways. 50 
 
 \_Exeunt Bawd, Fandar, and Boult, 
 
 Marina, If you were born to honour, show it now ; 
 If put upon you, make the judgment good 
 That thought you worthy of it. 
 
 Lysimachus. How 's this ? how 's this ? Some more ; 
 be sage. 
 
 Marina. For me, 
 
 That am a maid, though most ungentle fortune 
 Have plac'd me in this sty, O, that the gods 
 Would set me free from this unhallow'd place. 
 Though they did change me to the meanest bird 
 That flies i' the purer air ! 
 
 Lysimachus. I did not think 
 
 Thou couldst have spoke so well, ne'er dream 'd thou 
 
 couldst. 60 
 
 Had I brought hither a corrupted mind, 
 Thy speech had alter'd it. Hold, here 's gold for thee. 
 Persever in that clear way thou goest. 
 And the gods strengthen thee ! 
 
 Marina. The good gods preserve you ! 
 
 Lysimachus. For me, be you thoughten 
 That I came with no ill intent ; for to me 
 The very doors and windows savour vilely. 
 Fare thee well. Thou art a piece of virtue, and 
 
io6 Pericles, Prince of Tyre [Act iv 
 
 I doubt not but thy training hath been noble. 
 
 Hold, here 's more gold for thee. 70 
 
 A curse upon him, die he like a thief, 
 
 That robs thee of thy goodness ! If thou dost 
 
 Hear from me, it shall be for thy good. 
 
 Re-enter Boult 
 
 Boult. I beseech your honour, one piece for me. 
 
 Lystmachus. Avaunt, thou damned door-keeper ! 
 Your house, but for this virgin that doth drop it, 
 Would sink and overwhelm you. Away ! \_Exit 
 
 Boult. Come, mistress ; come your ways with me. 
 
 Marina. Prithee, tell me one thing first. 
 
 Boult. Come now, your one thing. 80 
 
 Marina. What canst thou wish thine enemy to be ? 
 
 Boult. Why, I could wish him to be my master, or 
 rather, my mistress. 
 
 Marina. Neither of these are so bad as thou art. 
 Since they do better thee in their command. 
 Thou hold'st a place for which the pained'st fiend 
 Of hell would not in reputation change. 
 
 Boult. What would you have me do ? go to the 
 wars, would you ? where a man may serve seven 
 years for the loss of a leg, and have not money 
 enough in the end to buy him a wooden one ? 91 
 
 Marina. Do any thing but this thou doest. Empty 
 Old receptacles, or common sewers, of filth ; 
 Serve by indenture to the common hangman. 
 Any of these ways are yet better than this 5 
 
Scene VI] Pericles, Prince of Tyre 107 
 
 For what thou professest, a baboon, could he speak, 
 
 Would own a name too dear. O, that the gods 
 
 Would safely deliver me from this place ! 
 
 Here, here 's gold for thee. 
 
 If that thy master would gain by me, 100 
 
 Proclaim that I can sing, weave, sew, and dance, 
 
 With other virtues, which I '11 keep from boast ; 
 
 And I will undertake all these to teach. 
 
 I doubt not but this populous city will 
 
 Yield many scholars. 
 
 Boult. Well, I will see what I can do for thee ; if 
 I can place thee, I will. 
 
 Marina. But amongst honest women. 
 
 Boiilt. Faith, my acquaintance lies little amongst 
 them. But since my master and mistress have 
 bought you, there 's no" going but by their consent ; 
 therefore I will make them acquainted with your 
 purpose, and I doubt not but I shall find them 
 tractable enough. Come, I '11 do for thee what I 
 can ; come your ways. \Exeunt. 
 
The Altar of Diana (Scene 3) 
 
 ACT V 
 
 Enter Gower 
 
 Gower. Marina thus the brothel scapes, and chances 
 Into an honest house, our story says. 
 She sings like one immortal, and she dances 
 As goddess-like to her admired lays. 
 Deep clerk she dumbs, and with her needle composes 
 Nature's own shape, of bud, bird, branch, or berry, 
 
 108 
 
Scene I] Pericles, Prince of Tyre 109 
 
 That even her art sisters the natural roses, 
 
 Her inkle, silk, twin with the rubied cherry ; 
 
 That pupils lacks she none of noble race, 
 
 Who pour their bounty on her, and her gain 10 
 
 She gives the cursed bawd. Here we her place. 
 
 And to her father turn our thoughts again 
 
 Where we left him on the sea. We there him lost. 
 
 Whence, driven before the winds, he is arriv'd 
 
 Here where his daughter dwells ; and on this coast 
 
 Suppose him now at anchor. The city striv'd 
 
 God Neptune's annual feast to keep ; from whence 
 
 Lysimachus our Tyrian ship espies, 
 
 His banners sable, trimm'd with rich expense. 
 
 And to him in his barge with fervour hies. 20 
 
 In your supposing once more put your sight 
 
 Of heavy Pericles ; think this his bark, 
 
 Where what is done in action, more, if might, 
 
 Shall be discover'd. Please you, sit and hark. {Exit. 
 
 Scene I. On board Pericles' ship, off Mytilene. A 
 close pavilion on deck, with a curtain before it ; 
 Pericles within it, reclining on a couch. A barge 
 lying beside the Tyrian vessel 
 
 Enter two Sailors, one belongiitg to the Tyrian vessel, 
 the other to the barge ; to them Helicanus 
 
 Tyrian Sailor. [To the Sailor 0/ Mytilene] Where is 
 lord Helicanus ? he can resolve you. 
 O, here he is. — 
 
no Pericles, Prince of Tyre [Act v 
 
 Sir, there 's a barge put off from Mytilene, 
 
 And in it is Lysimachus the governor, 
 
 Who craves to come aboard. What is your will ? 
 
 Helicanus. That he have his. Call up some gentle- 
 men. 
 
 Tyrian Sailor. Ho, gentlemen ! my lord calls. 
 
 Enter two or three Gentlemen 
 
 I Gentleman. Doth your lordship call ? 
 HelicaniLs. Gentlemen, there 's some of worth would 
 come aboard ; 
 I pray ye, greet them fairly. lo 
 
 [The Gentlemen and the two Sailors descend, 
 and go on board the barge 
 
 Enter, from thence, Lysimachus and Lords ; with the 
 Gentlemen and the two Sailors 
 
 Tyrian Sailor. Sir, 
 This is the man that can, in aught you would, 
 Resolve you. 
 
 Lysimachus. Hail, reverend sir ! the gods preserve 
 you ! 
 
 Helicanus. And you, sir, to outlive the age I am, 
 And die as I would do ! 
 
 Lysimachus. You wish me well. 
 
 Being on shore, honouring of Neptune's triumphs, 
 Seeing this goodly vessel ride before us, 
 I made to it, to know of whence you are. 
 
 Helicanus. First, what is your place ? 20 
 
Scene I] Pericles, Prince of Tyre 1 1 1 
 
 Lysimachus. I am the governor of this place you lie 
 before. 
 
 Helicanus. Sir, 
 Our vessel is of Tyre, in it the king ; 
 A man who for this three months hath not spoken 
 To any one, nor taken sustenance 
 But to prorogue his grief. 
 
 Lysimachus. Upon what ground is his distemperature ? 
 
 Helicanus. 'T would be too tedious to repeat ; 
 But the main grief springs from the loss 
 Of a beloved daughter and a wife. 30 
 
 Lysimachus. May we not see him ? 
 
 Helicanus. You may, 
 But bootless is your sight ; he will not speak 
 To any. 
 
 Lysimachus. Yet let me obtain my wish. 
 
 Helicanus. Behold him. \_Pericles discovered.'] This 
 was a goodly person 
 Till the disaster that, one mortal night, 
 Drove him to this. 
 
 Lysimachus. Sir king, all hail ! the gods preserve you ! 
 Hail, royal sir ! 
 
 Helicanus. It is in vain ; he will not speak to you. 40 
 
 I Lord. Sir, 
 We have a maid in Mytilene, I durst wager, 
 Would win some words of him. 
 
 Lysimachus. 'T is well bethought. 
 
 She, questionless, with her sweet harmony 
 And other chosen attractions, would allure, 
 
112 Pericles, Prince of Tyre [Act v 
 
 And make a battery through his deafen 'd parts 
 
 Which now are midway stopp'd. 
 
 She is all happy as the fair'st of all, 
 
 And with her fellow maids is now upon 
 
 The leafy shelter that abuts against 50 
 
 The island's side. 
 
 [ Whispers a Lord, who goes off in the barge of 
 Lysimachiis. 
 
 Helicanus, Sure, all 's effectless ; j^et nothing we '11 
 omit 
 That bears recovery's name. But, since your kindness 
 We have stretch 'd thus far, let us beseech you 
 That for our gold we may provision have, 
 Wherein we are not destitute for want, 
 But weary for the staleness. 
 
 Lysimachus. O, sir, a courtesy 
 
 Which if we should deny, the most just gods 
 For every graff would send a caterpillar. 
 And so afflict our province. Yet once more 60 
 
 Let me entreat to know at large the cause 
 Of your king's sorrow. 
 
 Helicanus. Sit, sir, I will recount it to you. — 
 
 But, see, I am prevented. 
 
 Re-enter the Lord, with Marina and a young Lady 
 
 Lysimachus. O, here is 
 
 The lady that I sent for. — Welcome, fair one ! 
 Is 't not a goodly presence ? 
 
 Helicanus. She 's a gallant lady. 
 
Scene I] Pericles, Prince of Tyre 113 
 
 Lysimachus, She 's such a one, that, were I well 
 assur'd 
 Came of a gentle kind and noble stock, 
 I 'd wish no better choice, and think me rarely wed. — 
 Fair one, all goodness that consists in bounty 
 Expect even here, where is a kingly patient. 70 
 
 If that thy prosperous and artificial feat 
 Can draw him but to answer thee in aught, 
 Thy sacred physic shall receive such pay 
 As thy desires can wish. 
 
 Marina. Sir, I will use 
 
 My utmost skill in his recovery. 
 Provided 
 
 That none but I and my companion maid 
 Be suffer'd to come near him. 
 
 Lysimachus. Come, let us leave her ; 
 
 And the gods make her prosperous ! \_Marina sings. 
 
 Lysimachus. Mark'd he your music ? 
 
 Marina. No, nor look'd on us. 
 
 Lysimachus. See, she will speak to him. 81 
 
 Marina. Hail, sir ! my lord, lend ear. 
 
 Pericles. Hum, ha ! 
 
 Marina. I am a maid. 
 My lord, that ne'er before invited eyes, 
 But have been gaz'd on like a comet ; she speaks. 
 My lord, that, may be, hath endur'd a grief 
 Might equal yours if both were justly weigh 'd. 
 Though wayward fortune did malign my state. 
 My derivation was from ancestors 90 
 
 PERICLES — 8 
 
114 Pericles, Prince of Tyre [Act V 
 
 Who stood equivalent with mighty kings ; 
 
 But time hath rooted out my parentage, 
 
 And to the world and awkward casualties 
 
 Bound me in servitude. [Aside. '\ I will desist ; - 
 
 But there is something glows upon my cheek, 
 
 And whispers in mine ear ' Go not till he speak.' 
 
 Pericles. My fortunes — parentage — good parent- 
 age— 
 To equal mine ! — was it not thus ? what say you ? 
 Marina. I said, my lord, if you did know my 
 parentage, 
 You would not do me violence. loo 
 
 Pericles. I do think so. Pray you, turn your eyes 
 upon me. 
 You are like something that — What countrywoman ? 
 Here of these shores ? 
 
 Marina. No, nor of any shores ; 
 
 Yet I was mortally brought forth, and am 
 No other than I appear. 
 
 Pericles, I am great with woe, and shall deliver 
 weeping. 
 My dearest wife was like this maid, and such a one 
 My daughter might have been : my queen's square 
 
 brows. 
 Her stature to an inch, as wand-like straight. 
 As silver-voic'd, her eyes as jewel-like no 
 
 And cas'd as richly ; in pace another Juno, 
 Who starves the ears she feeds, and makes them hungry 
 The more she gives them speech. — Where do you live ? 
 
Scene I] Pericles, Prince of Tyre 115 
 
 Marina. Where I am but a stranger ; from the deck 
 You may discern the place. 
 
 Pericles. Where were you bred ? 
 
 And how achiev'd you these endowments which 
 You make more rich to owe ? 
 
 Marina. If I should tell my history, it would seem 
 Like lies disdain 'd in the reporting. 
 
 Pericles. Prithee, speak. 
 
 Falseness cannot come from thee ; for thou look'st 120 
 Modest as Justice, and thou seem'st a palace 
 For the crown'd Truth to dwell in. I will believe thee, 
 And make my senses credit thy relation 
 To points that seem impossible, for thou look'st 
 Like one I lov'd indeed. What were thy friends ? 
 Didst thou not say, when I did push thee back — 
 Which was when I perceiv'd thee — that thou cam'st 
 From good descending ? 
 
 Marina. So indeed I did. 
 
 Pericles. Report thy parentage. I think thou said'st 
 Thou hadst been toss'd from wrong to injury, 130 
 
 And that thou thought'st thy griefs might equal mine 
 If both were open'd. 
 
 Marina. Some such thing 
 
 I said, and said no more but what my thoughts 
 Did warrant me was likely. 
 
 Pericles. Tell thy story. 
 
 If thine considered prove the thousandth part 
 Of my endurance, thou art a man and I 
 Have suff6r'd like a girl ; yet thou dost look 
 
ii6 Pericles, Prince of Tyre [Act v 
 
 Like Patience gazing on kings' graves and smiling 
 Extremity out of act. What were thy friends ? 
 How lost thou them ? Thy name, my most kind virgin ? 
 Recount, I do beseech thee ; come, sit by me. 141 
 
 Marina. My name is Marina. 
 
 Pericles. O, I am mock'd, 
 
 And thou by some incensed god sent hither 
 To make the world to laugh at me ! 
 
 Marina. Patience, good sir, 
 
 Or here I'll cease. 
 
 Pericles. Nay, I '11 be patient. 
 
 Thou little know'st how thou dost startle me, 
 To call thyself Marina. 
 
 Marina. The name 
 Was given me by one that had some power. 
 My father and a king. 
 
 Pericles. How ! a king's daughter ? 150 
 
 And call'd Marina ? 
 
 Marina. You said you would believe me ; 
 
 But, not to be a troubler of your peace, 
 I will end here. 
 
 Pericles. But are you flesh and blood ? 
 
 Have you a working pulse ? and are no fairy ? 
 No motion ? — Well ; speak on. Where were you born ? 
 And wherefore call'd Marina ? 
 
 Marina. Call'd Marina 
 
 For I was born at sea. 
 
 Pericles. At sea ! what mother ? 
 
 Marina. My mother was the daughter of a king, 
 
Scene I] Pericles, Prince of Tyre 117 
 
 Who died the minute I was born, 
 
 As my good nurse Lychorida hath oft 160 
 
 Deliver'd weeping. 
 
 Pericles. O, stop there a little 1 — 
 
 [Aside] This is the rarest dream that e'er dull sleep 
 Did mock sad fools withal ; this cannot be, 
 My daughter 's buried. — Well ; where were you bred ? 
 I '11 hear you more, to the bottom of your story, 
 And never interrupt you. 
 
 Marina. You '11 scarce believe me ; 't were best I did 
 give o'er. 
 
 Pericles. I will believe you by the syllable 
 Of what you shall deliver. Yet, give me leave : 169 
 
 How came you in these parts ? where were you bred ? 
 
 Marina. The king my father did in Tarsus leave me. 
 Till cruel Cleon, with his wicked wife. 
 Did seek to murther me, and having woo'd 
 A villain to attempt it, who having drawn to do 't, 
 A crew of pirates came and rescued me. 
 Brought me to Mytilene. But, good sir. 
 Whither will you have me ? Why do you weep ? It 
 
 may be 
 You think me an impostor ; no, good faith, 
 I am the daughter to King Pericles, 
 If good King Pericles be. 180 
 
 Pericles. Ho, Helicanus! 
 
 Helicanus. Calls my lord ? 
 
 Pericles. Thou art a grave and noble counsellor. 
 Most wise in general ; tell me, if thou canst. 
 
ii8 Pericles, Prince of Tyre [Act v 
 
 What this maid is, or what is like to be, 
 That thus hath made me weep? 
 
 Helicanus. I know not ; but 
 
 Here is the regent, sir, of Mytilene 
 Speaks nobly of her. 
 
 Lysimachus. She would never tell 
 
 Her parentage ; being demanded that, 
 She would sit still and weep. 190 
 
 Pericles. O Helicanus, strike me, honour'd sir ; 
 Give me a gash, put me to present pain. 
 Lest this great sea of joys rushing upon me 
 O'erbear the shores of my mortality, 
 And drown me with their sweetness. — O, come hither, 
 Thou that beget 'st him that did thee beget. 
 Thou that wast born at sea, buried at Tarsus, » 
 And found at sea again ! — O Helicanus, 
 Down on thy knees, thank the holy gods as loud 
 As thunder threatens us ; this is Marina ! — 200 
 
 What was thy mother's name ? tell me but that, 
 For truth can never be confirm 'd enough. 
 Though doubts did ever sleep. 
 
 Marina. First, sir, I pray, 
 
 What is your title ? 
 
 Pericles. I am Pericles of Tyre ; but tell me now 
 My drown 'd queen's name, as in the rest you said 
 Thou hast been godlike perfect, and thou art 
 The heir of kingdoms and another life 
 To Pericles thy father. 
 
 Marina. Is it no more to be your daughter than 210 
 
Scene I] Pericles, Prince of Tyre 119 
 
 To say my mother's name was Thaisa ? 
 Thaisa was my mother, who did end 
 The minute I began. 
 
 Pericles. Now, blessing on thee ! rise ; thou art my 
 child. — 
 Give me fresh garments. — Mine own, Helicanus ! 
 She is not dead at Tarsus, as she should have been. 
 By savage Cleon ; she shall tell thee all, 
 When thou shalt kneel and justify in knowledge 
 She is thy very princess. — Who is this ? 
 
 Helicanus. Sir, 't is the governor of Mytilene, 220 
 Who, hearing of your melancholy state. 
 Did come to see you. 
 
 Pericles. I embrace you. — 
 
 Give me my robes. — I am wild in my beholding. — 
 O heavens bless my girl ! — But, hark, what music ? — 
 Tell Helicanus, my Marina, tell him 
 O'er, point by point, for yet he seems to doubt, 
 How sure you are my daughter. — But, what music ? 
 
 Helicanus. My lord, I hear none. 
 
 Pericles. None ! 
 The music of the spheres ! — List, my Marina. 230 
 
 Lysimachus. It is not good to cross him ; give him 
 way. 
 
 Pericles. Rarest sounds ! Do ye not hear ? 
 
 Lysimachzis. Music, my lord ? I hear — 
 
 Pericles. Most heavenly music ! 
 It nips me unto listening, and thick slumber 
 Hangs upon mine eyes ; let me rest. [Sleeps. 
 
1 20 Pericles, Prince of Tyre [Act V 
 
 Lysimachus. A pillow for his head. — 
 So, leave him all. — Well, my companion friends, 
 If this but answer to my just belief, 
 I '11 well remember you. \Exeunt all but Pericles. 
 
 Diana appears to Pericles as in a vision 
 
 Diana. My temple stands in Ephesus ; hie thee 
 thither, 240 
 
 And do upon mine altar sacrifice. 
 There, when my maiden priests are met together, 
 Before the people all. 
 
 Reveal how thou at sea didst lose thy wife ; 
 To mourn thy crosses, with thy daughter's, call 
 And give them repetition to the life. 
 Or perform my bidding, or thou liv'st in woe ; 
 Do it, and happy, by my silver bow ! 
 Awake, and tell thy dream. {Disappears. 
 
 Pejicles. Celestial Dian, goddess argentine, 250 
 
 I will obey thee. — Helicanus ! 
 
 Re-enter Helicanus, Lysimachus, a^id Marina 
 
 Helicanus. Sir ? 
 
 Pericles. My purpose was for Tarsus, there to strike 
 The inhospitable Cleon, but I am 
 For other service first. Toward Ephesus 
 Turn our blown sails ; eftsoons I '11 tell thee why. — 
 \_To Lysimachus] Shall we refresh us, sir, upon your 
 
 shore, 
 And give you gold for such provision 
 
Scene II] Pericles^ Prince of Tyre 121 
 
 As our intents will need ? 
 
 Lysimachus. Sir, 
 With all my heart ; and, when you come ashore, 260 
 I have another suit. 
 
 Pericles. You shall prevail, 
 
 Were it to woo my daughter ; for it seems 
 You have been noble towards her. 
 
 Lysimachus. Sir, lend me your arm. 
 
 Pericles. Come, my Marina. \_Exeunt. 
 
 Scene II. — Enter Gower, before the Temple of Diana 
 
 at Ephesus 
 
 Gower. Now our sands are almost run ; 
 More a little, and then dumb. 
 This, my last boon, give me, 
 For such kindness must relieve me. 
 That you aptly will suppose 
 What pageantry, what feats, what shows, 
 What minstrelsy, and pretty din, , 
 The regent made in Mytilene 
 To greet the king. So he thriv'd 
 
 That he is promis'd to he wiv'd 10 
 
 To fair Marina ; but in no wise 
 Till he had done his sacrifice. 
 As Dian bade, whereto being bound, 
 The interim, pray you, all confound. 
 In feather'd briefness sails are fill'd. 
 And wishes fall out as they 're will'd. 
 
122 Pericles, Prince of Tyre [Act V 
 
 At Ephesus, the temple see, 
 
 Our king, and all his company. 
 
 That he can hither come so soon, 19 
 
 Is by your fancies' thankful doom. \_jExi^. 
 
 Scene III. — TAe Temple of Diana at Ephesus ; Thaisa 
 standing near the Altar, as High- Priestess ; a number 
 of Virgins on each side ; Cerimon a7id other Inhabit- 
 ants of Ephesus attending 
 
 Enter Pericles, with his train; Lysimachus, Heli- 
 
 CANUS, Marina, and a Lady 
 
 Pericles. Hail, Dian ! to perform thy just command, 
 I here confess myself the king of Tyre, 
 Who, frighted from my country, did wed 
 At Pentapolis the fair Thaisa. 
 At sea in childbed died she, but brought forth 
 A maid-child call'd Marina, who, O goddess. 
 Wears yet thy silver livery. She at Tarsus 
 Was nurs'd with Cleon, who at fourteen years 
 He sought to murther, but her better stars 
 Brought her to Mytilene, 'gainst whose shore 10 
 
 Riding, her fortunes brought the maid aboard us. 
 Where, by her own most clear remembrance, she 
 Made known herself my daughter. 
 
 Thaisa. Voice and favour ! 
 
 You are, you are — O royal Pericles ! \_Eaints. 
 
 Pericles. What means the nun ? she dies ! — help, 
 gentlemen ! 
 
Scene III] Pericles, Prince of Tyre 123 
 
 Cerimon. Noble sir, 
 If you have told Diana's altar true. 
 This is your wife. 
 
 Pericles. Reverend appearer, no ; 
 
 I threw her overboard with these very arms. 19 
 
 Cerimon. Upon this coast, I warrant you. 
 
 Pericles. 'T is most certain. 
 
 Cerimon. Look to the lady. — O, she 's but o'erjoy'd. 
 Early in blustering morn this lady w^as 
 Thrown upon this shore. I op'd the coffin, 
 Found there rich jewels, recover'd her, and plac'd her 
 Here in Diana's temple. 
 
 Pericles. May we see them ? 
 
 Cerimon. Great sir, they shall be brought you to my 
 house, 
 Whither I invite you. Look, Thaisa is 
 Recovered. 
 
 Thaisa. O, let me look ! 
 If he be none of mine, my sanctity 
 Will to my sense bend no licentious ear, 30 
 
 But curb it, spite of seeing. — O, my lord. 
 Are you not Pericles ? Like him you spake. 
 Like him you are ; did you not name a tempest, 
 A birth, and death ? 
 
 Pericles. The voice of dead Thaisa ! 
 
 Thaisa. That Thaisa am I, supposed dead 
 And drown 'd. 
 
 Pericles. Immortal Dian ! 
 
 Thaisa. Now I know you better. 
 
 ^ 
 
124 Pericles, Prince of Tyre [Act V 
 
 When we with tears parted Pentapolis, 
 The king my father gave you such a ring. 
 
 \Shows a ring. 
 
 Pericles. This, this ! — no more, you gods ! your 
 present kindness 40 
 
 Makes my past miseries sports ; you shall do well, 
 That on the touching of her lips I may 
 Melt and no more be seen. — O, come, be buried 
 A second time within these arms. 
 
 Marina. My heart 
 
 Leaps to be gone into my mother's bosom. 
 
 \_Kneels to Thaisa. 
 
 Pei'icles. Look, who kneels here ! Flesh of thy flesh, 
 Thaisa ; 
 Thy burden at the sea, and call'd Marina 
 For she was yielded there. 
 
 Thaisa. Blest, and mine own ! 
 
 Helicanus. Hail, madam, and my queen ! 
 
 Thaisa. I know you not. 
 
 Pericles. You have heard me say, when I did fly from 
 Tyre, .50 
 
 I left behind an ancient substitute ; 
 Can you remember what I call'd the man ? 
 I have nam'd him oft. 
 
 Thaisa. 'T was HeHcanus then. 
 
 Pericles. Still confirmation ! 
 Embrace him, dear Thaisa ; this is he. 
 Now do I long to hear how you were found. 
 How possibly preserv'd, and who to thank, 
 
Scene III] Pericles, Prince of Tyre 125 
 
 Besides the gods, for this great miracle. 
 
 Thaisa. Lord Cerimon, my lord ; this man, 
 Through whom the gods have shown their power, that 
 can 60 
 
 From first to last resolve you. 
 
 Pericles. Reverend sir, 
 
 The gods can have no mortal officer 
 More like a god than you. Will you deliver 
 How this dead queen re-lives ? 
 
 Cerimon. I will, my lord. 
 
 Beseech you, first go with me to my house, 
 Where shall be shown you all was found with her, 
 How she came plac'd here in the temple. 
 No needful thing omitted. 
 
 Pericles. Pure Dian, bless thee for thy vision ! I 
 Will offer night-oblations to thee. — Thaisa, 70 
 
 This prince, the fair-betrothed of your daughter, 
 Shall marry her at Pentapolis. — And now. 
 This ornament 
 
 Makes me look dismal will I clip to form ; 
 And what this fourteen years no razor touch'd. 
 To grace thy marriage-day, I '11 beautify. 
 
 Thaisa, Lord Cerimon hath letters of good credit, sir. 
 My father 's dead. 
 
 Pericles. Heavens make a star of him ! — Yet there, 
 my queen. 
 We '11 celebrate their nuptials, and ourselves 80 
 
 Will in that kingdom spend our following days ; 
 Our son and daughter shall in Tyrus reign. — • 
 
126 Pericles, Prince of Tyre [Act v 
 
 Lord Cerimon, we do our longing stay 
 
 To hear the rest untold. — Sir, lead 's the way. 
 
 [^Exeunt. 
 Enter Gower 
 
 Gower. In Antiochus and his daughter you have 
 heard 
 Of monstrous lust the due and just reward ; 
 In Pericles, his queen and daughter, seen, 
 Although assail'd with fortune fierce and keen, 
 Virtue preserv'd from fell destruction's blast, 
 Led on by heaven and crown 'd with joy at last; 90 
 
 In Helicanus may you well descry 
 A figure of truth, of faith, of loyalty ; . 
 In reverend Cerimon there well appears 
 The worth that learned charity aye wears ; 
 For wicked Cleon and his wife, when fame 
 Had spread their cursed deed and honour'd name 
 Of Pericles, to rage the city turn, 
 That him and his they in his palace burn ; 
 The gods for murther seemed so content 
 To punish them, although not done, but meant. 100 
 
 So, on your patience evermore attending, 
 New joy wait on you ! Here our play has ending. 
 
 \Exit. 
 
NOTES 
 
Monument of GowerI 
 
 NOTES 
 
 Introduction 
 
 The Metre of the Play. — It should be understood at the 
 outset that metre, or the mechanism of verse, is something alto- 
 
 1 In St. Saviour's, Southwark, London. Gower had contributed 
 largely to the restoration of the church, in which, in 1399, he had been 
 married to Alice Groundolf by William of Wykeham, Bishop of Win- 
 chester. Stow describes the monument thus : " He heth under a tomb 
 of stone, with his image also of stone over him ; the hair of his head 
 auburn, long to his shoulders but curling up, and a small forked beard ; 
 on his head a chaplet like a coronet of four roses ; a habit of purple, 
 damasked down to his feet; a collar of esses gold about his neck; 
 under his head the likeness of three books which he compiled." 
 PERICLES — 9 129 
 
I JO Notes 
 
 gether distinct from the imisic of verse. The one is matter of rule, 
 the other of taste and feeUng. Music is not an absolute necessity 
 of verse ; the metrical form is a necessity, being that which consti- 
 tutes the verse. 
 
 The plays of Shakespeare (with the exception of rhymed pas- 
 sages, and of occasional songs and interludes) are all in unrhymed 
 or blank verse ; and the normal form of this blank verse is illus- 
 trated by iii. 1. 13 of the present play : "Aboard our dancing boat; 
 make swift the pangs." ^ 
 
 This line, it will be seen, consists of ten syllables, with the even 
 syllables (2d, 4th, 6th, 8th, and loth) accented, the odd syllables 
 (ist, 3d, etc.) being unaccented. Theoretically, it is made up of 
 ii\t. feet oi two syllables each, with the accent on the second sylla- 
 ble. Such a foot is called an iambus (plural, iambuses, or the Latin 
 iambi"), and the form of verse is called iambic. 
 
 This fundamental law of Shakespeare's verse is subject to certain 
 modifications, the most important of which are as follows : — 
 
 1. After the tenth syllable an unaccented syllable (or even two 
 sach syllables) may be added, forming what is sometimes called a 
 female line ; as in iii. I. i : " Thou god of this great vast, rebuke 
 these surges." The rhythm is complete with the first syllable of 
 surges, the second being an extra eleventh syllable. In iii. i. 6 we 
 have two extra syllables, the rhythm being complete with the second 
 syllable oi Lychorida. Another example is iii, i. 12, the two last 
 syllables of deity being extra ones. 
 
 2. The accent in any part of the verse may be shifted from an 
 even to an odd syllable; as in iii. 1.4: " Having call'd them," etc., 
 and 15 just below : " Here is a thing," etc. In both lines the accent 
 is shifted from the second to the first syllable. This change occurs 
 very rarely in the tenth syllable, and seldom in the fourth (but we 
 have an example in iii. 1.3: " bind them ") ; and it is not allowable 
 in two successive accented syllables. 
 
 1 In this play I take the examples of metrical matters, as far as possible, 
 from Shakespeare's part of it. 
 
Notes 131 
 
 3. An extra unaccented syllable may occur in any part of the 
 line; as in iii. i. 5, 6, 7, in which the second syllables ol deafening, 
 sulphurous, and venojnotisly are superfluous. In 6 the second syl- 
 lable oi flashes is also superfluous. 
 
 4. Any unaccented syllable, occurring in an even place immedi- 
 ately before or after an even syllable which is properly accented, is 
 reckoned as accented for the purposes of the verse; as, for instance, 
 in lines 7 and 10. In 7 the last syllable of venomously, and in 10 
 that oi Lychorida (as also in 14 and 18), are metrically equivalent 
 to accented syllables. 
 
 5. In many instances in Shakespeare words must be lengthened 
 in order to fill out the rhythm : — 
 
 {a) In a large class of words in which e or i is followed by 
 another vowel, the e or i is made a separate syllable ; as ocean, 
 opinion, soldier, patience, partial, marriage, etc. For instance, in 
 Lear, iv. 5. 3 ("Your sister is the better soldier") appears to have 
 only nine syllables, but soldier is a trisyllable; and the same is true 
 oi gorgeous in Id. ii. 4. 266 : " If only to go warm were gorgeous." 
 See also nation in i. 4. 65, and marriage in ii. 3. 30 of the present 
 play. This lengthening occurs most frequently at the end of the 
 line, but there are few instances of it in the later plays. 
 
 (F) Many monosyllables ending in r, re, rs, res, preceded by a 
 long vowel or diphthong, are often made dissyllables; 2iS fare, fear, 
 dear, fir e, hair, hour, more, your, etc. In Lear, iii. 2. 15 ("Nor 
 rain, wind, thunder, fire, are my daughters "), y?r^ is a dissyllable. 
 If the word is repeated in a verse, it is often both monosyllable 
 and dissyllable ; as in J. C. iii. i. 172 : "As fire drives out fire, so 
 pity, pity," where the first fire is a dissyllable. 
 
 (<:) Words containing / or r, preceded by another consonant, are 
 often pronounced as if a vowel came between or after the conso- 
 nants ; as in T. ofS. ii. i. 158 : " While she did call me rascal fiddler " 
 [fiddl(e)er]; All ^s well, iii. 5. 43: "If you will tarry, holy pil- 
 grim" [pilg(e)rim] ; C. of.E.Y. i. 360 : "These are the parents 
 of these children '^ (childeren, the original form of the word) | W, T^ 
 
132 
 
 Notes 
 
 iv. 4. 76 : "Grace and remembrance [rememb(e) ranee] be to you 
 both ! " etc. In ii. 3. 64 of the present play entrance is a trisyl- 
 lable [ent(e)rance], and in i. 4. 71 the same is true of semblance 
 [sembl(e)ance]. 
 
 (a') Monosyllabic exclamations {ay, O, yea, nay, hail, etc.) and 
 monosyllables otherwise emphasized are similarly lengthened; also 
 certain longer words; as safely (trisyllable) in Ham. i. 3. 21 ; business 
 (trisyllable, as originally pronounced) in/. C. iv. i. 22 : "To groan 
 and sweat under the business " (so in several other passages) ; and 
 other words mentioned in the notes to the plays in which they occur. 
 
 6. Words are also contracted for metrical reasons, like plurals 
 and possessives ending in a sibilant, as balance, horse (for horses 
 and horse'' s), princess, sense, marriage (plural and possessive), 
 image, etc. So with many adjectives in the superlative (yik^ fair'' st 
 in V. I. 48, loyaPst, greatest, loudest, rarest, sweetest, etc.) and certain 
 other words. 
 
 7. The accent of words is also varied in many instances for metri- 
 cal reasons. Thus we find both revenue and revenue in the first scene 
 of the M. N. D. (lines 6 and 158), cdnjine (noun) and confine, c6n- 
 fiscate and confiscate, divine and divine, prSfane and profdne, etc. 
 
 These instances of variable accent must not be confounded with 
 those in which words were uniformly accented differently in the 
 time of Shakespeare ; like aspect, impdrtune, sepulchre (verb) , per- 
 sever {xi^-vox persevere), perseverance, rheumatic, etc. 
 
 8. Alexandrines, or verses of twelve syllables, with six accents, 
 occur here and there in the plays. They must not be confounded 
 with female lines with two extra syllables (see on i above) or with 
 other lines in which two extra unaccented syllables may occur. 
 
 9. Incomplete verses, of one or more syllables, are scattered 
 through the plays. See iii. i. 37, 42, 56, 74, 78, etc. 
 
 10. Doggerel measure is used in the very earliest comedies 
 (Z. L. L. and C. of E. in particular) in the mouths of comic 
 characters, but nowhere else in those plays, and never anywhere 
 in plays written after 1598. 
 
Notes 133 
 
 n. Rhyme occurs frequently in the early plays, but diminishes 
 with comparative regularity from that period until the latest. Thus, 
 in L. L. L. there are about iioo rhyming verses (about one-third 
 of the v^rhole number), in the M. N. D. about 900, in Rich. II. 
 and R. and J. about 500 each, v^^hile in Cor. and A. and C. there 
 are only about 40 each, in the Temp, only tvi^o, and in the W. T. 
 none at all, except in the chorus introducing act iv. Songs, inter- 
 ludes, and other matter not in ten-syllable measure are not included 
 in this enumeration. For the rhymes in the present play, see p. 22 
 above. 
 
 Alternate rhymes are found only in the plays vi^ritten before 1599 
 or 1600. In the M. of V. there are only four lines at the end of 
 iii. 2. In Much Ado and A. Y. L., vfe also find a few lines, but 
 none at all in subsequent plays. 
 
 Rhymed couplets, or " rhyme-tags," are often found at the end of 
 scenes; as in 12 of the 20 scenes of the present play. Only 4 of 
 these occur in the 8 scenes that are Shakespeare's. In Hatn. 14 out 
 of 20 scenes, and in Macb. 21 out of 28, have such " tags ; " but in 
 the latest plays they are not so frequent. In Temp., for instance, 
 there is but one, and in W. T. none. 
 
 12. In this edition of Shakespeare, the final -ed of past tenses 
 and participles in verse is printed -d when the word is to be pro- 
 nounced in the ordinary way; as in hallow' d, iii. i. 60, and coffi-n^d, 
 61. But when the metre requires that the -ed be made a separate 
 syllable, the e is retained; as in recovered (^Ci^z.^x\^j\i.2SA€), iii. 2. 86, 
 and praised (dissyllable), 102. The only variation from this rule 
 is in verbs like cry, die, sue, etc., the -ed of which is very rarely, if 
 ever, made a separate syllable. 
 
 Shakespeare's "Use of Verse and Prose in the Plays. — 
 This is a subject to which critics have given very little attention, 
 but it is an interesting study. In the present play, Shakespeare's 
 part is entirely in verse, with the exception of the few short speeches 
 of the sailors in iii. i. In general, we may say that verse is used 
 for what is distinctly poetical, and prose for what is not poetical. 
 
134 Notes 
 
 The distinction, however, is not so clearly marked in the earlier as 
 in the later plays. The second scene of M. of V., for instance, is 
 in prose, because Portia and Nerissa are talking about the suitors 
 in a familiar and playful way; but in T. G. of V., where Julia and 
 Lucetta are discussing the suitors of the former in much the same 
 fashion, the scene is in verse. Dowden, commenting on Rich. II., 
 remarks : " Had Shakespeare written the play a few years later, we 
 may be certain that the gardener and his servants (iii. 4) would not 
 have uttered stately speeches in verse, but would have spoken 
 homely prose, and that humour would have mingled with the pathos 
 of the scene. The same remark may be made with reference to the 
 subsequent scene (v. 5) in which his groom visits the dethroned 
 king in the Tower." Comic characters and those in low life generally 
 speak in prose in the later plays, as Dowden intimates, but in the very 
 earliest ones doggerel verse is much used instead. See on 10 above. 
 
 The change from prose to verse is well illustrated in the third 
 scene oi AI. of V. It begins with plain prosaic talk about a busi- 
 ness matter ; but when Antonio enters, it rises at once to the higher 
 level of poetry. The sight of Antonio reminds Shylock of his 
 hatred of the Merchant, and the passion expresses itself in verse, 
 the vernacular tongue of poetry. 
 
 The reasons for the choice of prose or verse are not always so 
 clear as in this instance. We are seldom puzzled to explain the 
 prose, but not unfrequently we meet with verse where we might 
 expect prose. As Professor Corson remarks (^Introduction to Shake- 
 speare, 1889), "Shakespeare adopted verse as the general tenor of 
 his language, and therefore expressed much in verse that is within 
 the capabilities of prose ; in other words, his verse constantly en- 
 croaches upon the domain of prose, but his prose can never be said 
 to encroach upon the domain of verse." If in rare instances we think 
 we find exceptions to this latter statement, and prose actually seems to 
 usurp the place of verse, I believe that careful study of the passage 
 will prove the supposed exception to be apparent rather than real. 
 
 Some Books for Teachers and Students. — A few out of the 
 
Notes 135 
 
 many books that might be commended to the teacher and the criti- 
 cal student are the following : Halliwell-Phillipps's Outlines of the 
 Life of Shakespeare (yth ed. 1887) ; Sidney Lee's Life of Shake- 
 speare (1898 ; for ordinary students the abridged ed. of 1899 is 
 preferable) ; ^oXi^^s Life of Shakespeare (1904) ; Schmidt's Shake- 
 speare Lexicon (3d ed. 1902) ; Littledale's ed. of Dyce's Glossary 
 (1902) ; Bartlett's Concordance to Shakespeare (1895) » Abbott's 
 Shakespearian Grammar (1873) ; Furness's " New Variorum " ed. 
 of the plays (encyclopaedic and exhaustive) ; Dowden's Shakspere : 
 Llis Mind and Art (American ed. 1881) ; Hudson's Life, Art, 
 and Characters of Shakespeare (revised ed. 1882) ; Mrs. Jameson's 
 Characteristics of Womejt (several eds. ; some with the title, 
 Shakespeare Heroines') ; Ten Brink's Five Lectures on Shakespeare 
 (1895) j Boas's Shakespeare and his Predecessors (1895) 5 Dyer's 
 Folk-lore of Shakespeare (American ed. 1884) ; Gervinus's Shake- 
 speare Commentaries (Bunnett's translation, 1875) ; Wordsworth's 
 Shakespeare^ s Knowledge of the Bible (3d ed. 1880) ; Elson's 
 Shakespeare in Music (1901). 
 
 Some of the above books will be useful to all readers who are 
 interested in special subjects or in general criticism of Shakespeare. 
 Among those which are better suited to the needs of ordinary 
 readers and students, the following may be mentioned : Mabie's 
 William Shakespeare: Poet, Dramatist, and Man (1900) ; Dow- 
 den's Shakspere Primer (1877 ; small but invaluable) ; Rolfe's 
 Shakespeare the Boy (1896 ; treating of the home and school life, 
 the games and sports, the manners, customs, and folk-lore of the 
 poet's time) ; Guerber's Myths of Greece and Rome (for young 
 students who may need information on mythological allusions not 
 explained in the notes). 
 
 H. Snowden Ward's Shakespeare's Town and Times (2d ed. 
 1902) and John Leyland's Shakespeare Country (2d ed. 1903) are 
 copiously illustrated books (yet inexpensive) which may be particu- 
 larly commended for school libraries. 
 
 Abbreviations in the Notes. — The abbreviations of the names 
 
136 
 
 Notes 
 
 of Shakespeare's plays will be readily understood 1 as 71 N. for 
 Twelfth Night, Cor. for Coriolantis, 3 Hen. VI. for The Third 
 Part of King Henry the Sixth, etc. P. P. refers to The Passionate 
 Pilgrim; V. and A, to Ventts and Adonis ; L. C. to Lover'' s Com- 
 plaint; and Sonn. to the Sonnets. 
 
 Other abbreviations that hardly need explanation are Cf. {confer, 
 compare), Fol. (following), Id. {idetn, the same), and Prol. (pro- 
 logue). The numbers of the lines in the references (except for the 
 present play) are those of the " Globe " edition (the cheapest and 
 best edition oi Shakespeare in one compact volume), which is now 
 generally accepted as the standard for line-numbers in works of ref- 
 erence (Schmidt's Lexicon, Abbott's Grammar, Dowden's Primer, 
 the publications of the New Shakspere Societ}', etc.). 
 
 Illustrative Passages from Gower. — Knight gives the 
 following extracts from Gower's Confessio Amantis (quoted 
 here by permission) to illustrate the use made of the poem in the 
 play : — 
 
 Act L — "The father, when he understood 
 
 That they his daughter thus besought, 
 
 With all his wit he cast and sought 
 
 How that he might find a let ; 
 
 And thus a statute then he set, 
 
 And in this wise his law he taxeth — 
 
 That what man that his daughter axeth, 
 
 But if he couth 1 his question 
 
 Assoil,2 upon suggestion 
 
 Of certain things that befell, 
 
 The which he would unto him tell, 
 
 He should in certain lose his head. 
 
 And thus there were many dead, 
 
 Their heads standing on the gate, 
 
 Till at last, long and late. 
 
 For lack of answer in the wise,3 
 
 1 Couth — was able. 2 As soil — answer. 3 Jn tJie wise — in the manner. 
 
Notes 
 
 The remnant, that weren wise, 
 Eschewden to make essay. 
 
 The king declareth him the case 
 With stern look and sturdy cheer, 
 To him and said in this manner : 
 With felony I am up bore, 
 I eat, and have it nought forbore. 
 My mother's flesh, whose husband 
 My father for to seek I fonde,i 
 Which is the son of my wife. 
 Hereof I am inquisitive, 
 And who that can my tale save. 
 All quite 2 he shall my daughter have 
 Of his answer ; and if he fail 
 He shall be dead without fail. 
 For thee, my son, quoth the king, 
 Be well advised of this thing 
 Which hath thy life in jeopardy. 
 
 ***** 
 This young prince forth he went. 
 And understood well what he meant, 
 Within his heart, as he was lered ; 3 
 That for to make him affered 4 
 The king his time hath so delayed. 
 Whereof he dradde.s and was amayed^ 
 Of treason that he die should. 
 For he the king his soth "> told ; 
 And suddenly the night's tide. 
 That more would he not abide. 
 All privily his barge he hent.s 
 And home again to Tyre he went. 
 And in his own wit he said, 
 
 1 Fonde — try. 5 Dradde — dreaded. 
 
 2 Quite — free. 6 Amayed— dismayed. 
 
 3 Lered — taught . J" Soth — truth . 
 
 4 Affered — afraid. 8 Hent — took to . 
 
 137 
 
138 Notes 
 
 For dread if he the king bewray'd.i 
 He knew so well the king's heart, 
 That death ne should he not asterte ,2 
 The king would him so pursue. 
 But he that would his death eschew, 
 And knew all this to fore the hand 
 Forsake he thought his own land, 
 That there would he not abide ; 
 For well he knew that on some side 
 This tyrant, of his felony, 
 By some manner of treachery 
 To grieve his body would not leave. 
 
 ***** 
 Antiochus, the great sire, 
 Which full of rancour and of ire 
 His heart beareth so, as ye heard, 
 Of that this prince of Tyre answer'd. 
 He had a fellow-bachelor, 
 Which was the privy councillor. 
 And Taliart by name he hight ; 
 The king a strong poison dight 
 Within a box, and gold thereto. 
 In all haste, and bade him go 
 Straight unto Tyre, and for no cost 
 Ne spare, till he had lost 
 The prince, which he would spill. 
 And when the king hath said his will, 
 This Taliart in a galley 
 With all haste he took his way. 
 The wind was good, and saileth blive,3 
 Till he took land upon the rive ■* 
 Of Tyre, and forth with all anon 
 Into the burgh he gan to gon, 
 And took his inn, and bode a throw ; ^ 
 
 1 Bewray d — discovered. 3 Blive — quick. 
 
 2 Asterte — escape. 4 j^iye — coast. 
 
 ^ Throw — time. 
 
Notes 
 
 ^39 
 
 But for he would not be know, 
 Disguised then he goeth him out, 
 He saw the weeping all about, 
 And axeth what the cause was. 
 And they him tolden all the case, 
 How suddenly the prince is go. 
 And when he saw that it was so, 
 And that his labour was in vain, 
 Anon he turneth home again : 
 And to the king when he came nigh, 
 He told of that he heard and sihe.i 
 How that the prince of Tyre is fi.ed. 
 So was he come again unsped. 
 The king was sorry for a while, 
 But when he saw, that with no wile 
 He might achieve his cruelty, 
 He stint his wrath, and let him be. 
 
 ^ *■ ^ ^ ^ 
 
 But over this now for to tell 
 
 Of adventures, that befell 
 
 Unto this prince of whom ytold : 
 
 He hath his right course forth hold 
 
 By stern and needle,^ till he came 
 
 To Tharse, and there his land he name. 
 
 A burgess rich of gold and fee 
 
 Was thilke time in that city. 
 
 Which cleped was Stranguilio, 
 
 His wife was Dionise also. 
 
 This young prince, as saith the book, 
 
 With him his herbergage^ took; 
 
 And it befell that city so. 
 
 By fore time and then also, 
 
 Thurh 4 strong famine, which them lad,5 
 
 Was none that any wheat had. 
 
 1 SiJze — saw, 3 Herbergage — lodging. 
 
 2 Stern andneedle — stars and compass. 4 Thzirh — through. 
 
 5 Zrto'— led, affected. 
 
140 Notes 
 
 Appollinus, when that he heard 
 
 The mischief how the city ferde.l 
 
 All freely of his own gift, 
 
 His wheat among them for to shift, 
 
 The which by ship he had brought. 
 
 He gave, and took of them right nought. 
 
 But sithen first the world began 
 
 Was never yet to such a man 
 
 More joy made, than they him made ; 
 
 For they were all of him so glad, 
 
 That they for ever in remembrance 
 
 Made a figure in resemblance 
 
 Of him, and in common place 
 
 They set it up ; so that his face 
 
 Might every manner man behold, 
 
 So that the city was behold. 
 
 It was of laton 2 over-gilt ; 
 
 Thus hath he not his gift spilt." 
 
 Act n. — " When him thought all grace away, 
 There came a fisher in the way, 
 And saw a man there naked stond. 
 And when that he hath understond 
 The cause, he hath of him great ruth,3 
 And only of his poor truth, 
 Of such clothes as he had 
 With great pity this lord he clad, 
 And he him thanketh, as he should. 
 And saith him that it shall be gold. 
 If ever he get his state again ; 
 And pray'd that he would him seyn * 
 If nigh were any town for him. 
 He said, Yea, Pentapolim, 
 Where both king and queen dwellen. 
 When he this tale heard tellen 
 
 1 Ferde — terrified. 3 Ruth — pity. 
 
 2 Laton — mixed metal. 4 Seyn — say. 
 
Notes 141 
 
 He gladdeth him, and gan beseech 
 That he the way him would teach ; 
 And he him taught, and forth he went, 
 And prayed God with good intent 
 To send him joy after his sorrow. 
 It was not yet passed mid-morrow. 
 
 * * *- * * 
 
 Then thitherward his way he name.i 
 Where soon upon the noon he came. 
 He eat such as he might get, 
 And forth anon, when he had eat, 
 He goeth to see the town about ; 
 And came there as he found a rout 
 Of young lusty men withal ; 
 And as it should then befall. 
 That day was set of such assise, 
 That they should in the land's guise. 
 As he heard of the people say, 
 The common game then play : 
 And cried was, that they should come 
 Unto the game, all and some 
 Of them that ben 2 deliver 3 and wight,* 
 To do such mastery as they might. 
 
 * * * * -^ 
 
 And fell among them into game, 
 And there he won him such a name 
 So as the king himself accounteth 
 That he all other men surmounteth. 
 And bare the prize above them all. 
 The king bade that into his hall, 
 At supper-time, he shall be brought ; 
 And he came there, and left it nought 
 Without company alone. 
 Was none so seemly of person, 
 
 1 Name — takes. 3 Deliver — nimble. 
 
 2 Ben — are. 4 Wight — active. 
 
142 Notes 
 
 Of visage, and of limbs both, 
 
 If that he had what to clothe. 
 
 At supper-time, nathless, 
 
 The king amid all the press 
 
 Let clap him up among them all, 
 
 And bade his marshal of his hall 
 
 To setten him in such degree 
 
 That he upon him might see. 
 
 The king was soon set and serv'd, 
 
 And he which hath his prize deserv'd, 
 
 After the king's own word, 
 
 Was made begin a middle board. 
 
 That both king and queen him sihe.i 
 
 He sat, and cast about his eye, 
 
 And saw the lords in estate, 
 
 And with himself wax in debate, 
 
 Thinking what he had lore ; 2 
 
 And such a sorrow he took therefore, 
 
 That he sat ever still, and thought. 
 
 As he which of no meat rought.^ 
 
 The king beheld his heaviness, 
 And of his great gentleness 
 His daughter, which was fair and good, 
 And at the board before him stood. 
 As it was thilke 4 time usage, 
 He bade to go on his message. 
 And fonde ^ for to make him glad. 
 And she did as her father bade. 
 And goeth to him the soft pace, 
 And axeth whence and what he was. 
 And prayeth he should his thoughts leave. 
 ***** 
 
 1 Sihe — saw. ^ Rought — cared. 
 
 2 i^ore — lost. 4 Thilke — that same. 
 
 5 Fotide — try. 
 
Notes 143 
 
 When he hath harped all his fill 
 
 The king's hest to fulfil, 
 
 Away goeth dish, away goeth cup, 
 
 Down goeth the board, the cloth was up, 
 
 They risen, and gone out of hall. 
 
 The king his chamberlain let call, 
 
 And bade that he by all way 
 
 A chamber for this man purvey. 
 
 Which nigh his own chamber be. 
 
 It shall be do, my lord, quoth he. 
 
 And when that he to chamber is come, 
 
 He hath into his council norae 1 
 
 This man of Tyre, and let him see 
 
 This letter, and all the privity 
 
 The which his daughter to him sent. 
 
 And he his knee to ground bent 
 
 And thanketh him and her also ; 
 
 And ere they went then a two, 2 
 
 With good heart, and with good courage. 
 
 Of full love and full marriage 
 
 The king and he ben whole accorded. 
 
 And after, when it was recorded 
 
 Unto the daughter how it stood, 
 
 The gift of all the world's good 
 
 Ne should have made her half so blithe." 
 
 Act III. — " They axen when the ship is come : 
 From Tyre, anon answered some. 
 And over this they saiden more, 
 The cause why they come for 
 Was for to seek, and for to find, 
 Appollinus, which is of kind 
 Their liege lord ; and he appeareth, 
 And of the tale which he heareth 
 He was right glad ; for they him told 
 
 1 Nome — taken . 2 ^ tTj^o — apart. 
 
144 Notes 
 
 That for vengeance, as God it would, 
 Antiochus, as men may wete.l 
 With thunder and hghtning is sore smete.2 
 His daughter hath the same chance, 
 So be they both in o 3 balance. 
 
 ***** 
 Lychorida for her office 
 Was take, which was a nourrice, 
 To wend with this young wife. 
 To whom was shape a woeful life. 
 Within a time, as it betid, 
 When they were in the sea amid, 
 Out of the north they saw a cloud : 
 The storm arose, the winds loud 
 They blewen many a dreadful blast, 
 The welkin was all overcast. 
 The dark night the sun hath under, 
 There was a great tempest of thunder. 
 The moon, and eke the stars both, 
 In black clouds they them clothe, 
 Whereof their bright look they hid. 
 This young lady wept and cried, 
 To whom no comfort might avail. 
 Of child she began travail. 
 Where she lay in a cabin close. 
 Her woeful lord from her arose. 
 And that was long ere any morrow. 
 So that in anguish and in sorrow 
 She was deliver'd all by night, 
 And dead in every man's sight. 
 But nathless for all this woe 
 A maid child was bore tho.* 
 
 ^ ?jf ^ vJC ^ 
 
 The master shipman came and pray'd. 
 With other such as be therein, 
 And said that he may nothing win 
 
 1 l^^/^_know. ^ Smete — smitten. ^O — one. ^Tho — then. 
 
Notes i^r 
 
 Again the death, but they him rede,i 
 
 He be well ware, and take heed. 
 
 The sea by way of his nature 
 
 Receive may no creature, 
 
 Within himself as for to hold 
 
 The which is dead ; for this they would, 
 
 As they councillen all about. 
 
 The dead body casten out : 
 
 For better it is, they saiden all, 
 
 That it of her so befal, 
 
 Than if they shoulden all spill, 
 
 ***** 
 I am, quoth he, but one alone ; 
 So would I not for my person 
 There fell such adversity, 
 But when it may no better be. 
 Do then thus upon my word : 
 Let make a coffer strong of board. 
 That it be firm with lead and pitch. 
 Anon was made a coffer such 
 All ready brought unto his hand ; 
 And when he saw, and ready found 
 This coffer made, and well endowed, 
 The dead body was bestowed 
 In cloth of gold, and laid therein, 
 
 ***** 
 I, king of Tyre, Appollinus, 
 Do all manner men to wit, 
 That hear and see this letter writ, 
 That, helpless without rede,2 
 Here lieth a king's daughter dead ; 
 And who that happeth her to find. 
 For charity take in his mind. 
 And do so that she be begrave,^ 
 With this treasure which he shall have. 
 
 1 Rede — advise. 2 i?^^^ _ counsel ; perhaps here medical aid. 
 
 3 Begrave — hm'iQd, 
 PERICLES — 10 
 
146 
 
 Notes 
 
 Right as the corps was thrown on land, ' 
 There came walking upon the strand 
 A worthy clerk, a surgeon, 
 And eke a great physician, 
 Of all that land the wisest one, 
 Which hight master Cerymon : 
 There were of his disciples some. 
 This master to the coffer is come, 
 And peyseth 1 there was somewhat in, 
 And bade them bear it to his inn, 
 And goeth himself forth withal. 
 All that shall fall, fall shall. 
 
 ***** 
 They laid her on a couch soft, 
 And with a sheet warmed oft. 
 Her cold breast began to heat, 
 Her heart also to flack 2 and beat. 
 This master hath her every joint 
 With certain oil and balm anoint. 
 And put a hquor in her mouth, 
 Which is to few clerks couth,^ 
 So that she 'covereth at the last. 
 And first her eyen up she cast ; 
 And when she more of strength caught. 
 Her arms both forth she straught,4 
 Held up her hand, and piteously 
 She spake, and said, Ah 1 where am I ? 
 Where is my lord ? What world is this ? 
 As she that wot nought how it is. 
 
 ***** 
 
 My daughter Thayse, by your leave, 
 I think shall with you bileave ^ 
 As for a time ; and thus I pray 
 
 1 Peyseth — considereth. 3 Couth — known. 
 
 2 Flack — flutter, * Str aught — stretched. 
 
 5 Bileave — leave behind. 
 
Notes 147 
 
 That she be kept by all way : 
 And when she hath of age more, 
 That she be set to books' lore. 
 And this avow to God I make, 
 That I shall never for her sake 
 My beard for no liking shave, 
 Till it befall that I have. 
 In covenable time of age, 
 Beset her unto marriage." 
 
 Act IV. — " And for to speak how that it stood 
 
 Of Thayse his daughter, where she dwelleth 
 
 In Tharse, as the chronique telleth. 
 
 She was well kept, she was well looked, 
 
 She was well taught, she was well booked ; 
 
 So well she sped in her youth 
 
 That she of every wisdom couth, 
 
 That for to seek in every lond 
 
 So wise another no man found, 
 
 Ne so well taught at man's eye ; 
 
 But woe-worth, ever falls envy. 
 
 ***** 
 The treason and the time is shape. 
 So fell it that this churlish knape 
 Hath led this maiden where he would 
 Upon the strand, and what she should 
 She was a drad ; and he out braid i 
 A rusty sword, and to her said, 
 Thou shalt be dead : alas, quoth she, 
 Why shall I so ? So thus, quoth he, 
 My lady Dionise hath bade 
 Thou shalt be murder'd in this stede. 
 This maid then for fear shrihte,^ 
 And for the love of God all-might 
 She pray'th, that for a little stound 3 
 She might kneel upon the ground 
 
 1 Braid — started, drew. '^ Shrihte— shrieked. ^ stound — moment. 
 
148 Notes 
 
 Toward the heaven, for to crave 
 
 Her woeful soul that she may save. 
 
 And with this noise and with this cry 
 
 Out of a barge fast by, 
 
 Which hid was there on scomerfare, 
 
 Men start out, and weren ware 
 
 Of this felon : and he to go, 
 
 And she began to cry tho,! 
 
 Ha, mercy, help, for God's sake ! 
 
 Into the barge they her take, 
 
 As thieves should, and forth they went^ 
 
 ***** 
 If so be that thy master would 
 That I his gold increase should, 
 It may not fall by this way ; 
 But suffer me to go my way 
 Out of this house, where I am in. 
 And I shall make him for to win 
 In some place else of the town, 
 Be so it be of religion, 
 Where that honest women dwell. 
 And thus thou might thy master tell. 
 That when I have a chamber there. 
 Let him do cry ay wide-wliere,2 
 What lord that hath his daughter dear, 
 And is in will that she shall lere 3 
 Of such a school as is true, 
 I shall her teach of things new, 
 Which that none other woman can 
 In all this land. 
 
 ***** 
 Her epitaph of good assise ^ 
 Was writ about, and in this wise 
 It spake : O ye that this behold, 
 Lo, here lieth she, the which was hold 
 
 1 Tho — then. ^ Lere — learn. 
 
 "^ Wide-where — far and near. * y^^jw^— situation. 
 
Notes 149 
 
 The fairest, and the flower of all, 
 Whose name Taysis men call. 
 The king of Tyre, Appollinus, 
 Her father was : now lieth she thus. 
 Fourteen year she was of age 
 When death her took to his viage." i 
 
 Act V. — "A messenger for her is gone. 
 
 And she came with her harp on hond ; 
 
 And she said them, that she would fonde 2 
 
 By all the ways that she can 
 
 To glad with this sorry man. 
 
 But what he was she wist nought. 
 
 But all the ship her hath besought, 
 
 That she her wits on him despend,^ 
 
 In aunter 4 if he might amend, 
 
 And say it shall be well acquit. 
 
 When she hath understonden it 
 
 She goeth her down, there as he lay, 
 
 Where that she harpeth many a lay. 
 
 And like an angel sang withal. 
 
 But he no more than the wall 
 
 Took heed of anything he heard. 
 
 And when she saw that he so ferde 5 
 
 She falleth with him into words, 
 
 And telleth him of sundry bordes,^ 
 
 And asketh him demands strange. 
 
 Whereof she made his heart change ; 
 
 And to her speech his ear he laid, 
 
 And hath marvel of that she said. 
 
 For in proverb and in problem 
 
 She spake, and bade he should deme ^* 
 
 In many a subtile question ; 
 
 1 Viage — journey. ^ Aunter — adventure. 
 
 2 Fonde — try. 5 Ferde — fared. 
 
 8 Despend — would expend. 6 Bordes — countries, 
 7 Deme — judge. 
 
150 Notes 
 
 But he for no suggestion 
 
 Which toward him she could stere,! 
 
 He would not o 2 word answer, 
 
 But as a madman at the last, 
 
 His head weeping away he cast, 
 
 And half in wrath he bade her go : 
 
 But yet she would nought do so ; 
 
 And in the dark forth she goeth 
 
 Till she him toucheth, and he wrothe,^ 
 
 And after her with his hand 
 
 He smote : and thus when she him found 
 
 Diseased, courteously she said, — 
 
 Avoy,4 my lord, I am a maid; 
 
 And if ye wist what I am, 
 
 And out of what lineage I came. 
 
 Ye would not be so salvage. 
 
 With that he sober'th his courage, 
 
 And put away his heavy cheer ; 
 
 But of them two a man may lere 
 
 What is to be so sibbe ^ of blood 
 
 None wist of other how it stood. 
 
 And yet the father at last 
 
 His heart upon this maid cast, 
 
 That he her loveth kindly ; 
 
 And yet he wist never why, 
 
 But all was known ere that they went : 
 
 For God, which wot their whole intent. 
 
 Their hearts both he discloseth. 
 
 The king unto this maid opposeth, 
 
 And asketh first, what is her name. 
 
 And where she learned all this game, 
 
 And of what kin that she was come ; 
 
 And she, that hath his words nome,6 
 
 Answereth, and saith, My name is Thaise, 
 
 1 Stere — stir. ■* Avoy — avoid. 
 
 ^ O — one. 5 Sibbe — related, 
 
 s Wrothe — was angry. 6 Nome — taken. 
 
Notes 151 
 
 That was some time well at ease. 
 
 In Tharse I was forth draw and fed, 
 
 There learned I till I was sped, 
 
 Of that I can : my father eke, 
 
 I not where that I should him seek : 
 
 He was a king men told me, 
 
 My mother drown'd was in the sea. 
 
 From point to point all she him told 
 
 That she hath long in heart hold, 
 
 And never durst make her moan 
 
 But only to this lord alone, 
 
 To whom her heart cannot hele.i 
 
 Turn it to woe, turn it to weal, 
 
 Turn it to good, turn it to harm. 
 
 And he then took her in his arm ; 
 
 But such a joy as he then made 
 
 Was never seen : thus be they glad 
 
 That sorry hadden be to forn.2 
 
 From this day forth fortune hath sworn 
 
 To set them upward on the wheel : 
 
 So goeth the world, now woe, now weal. 
 
 With worthy knights environed. 
 The king himself hath abandoned 
 Into the temple in good intent. 
 The door is up, and in he went, 
 Where as, with great demotion v 
 Of holy contemplation 
 Within his heart, he made his shrift, 
 And after that a rich gift 
 He off 'reth with great reverence ; 
 And there in open audience 
 Of them that stooden all about 
 He told them, and declareth out 
 His hap, such as him is befall : 
 There was no thing forget of all. 
 
 1 fJele — hide. 2 7}; fom — before. 
 
152 Notes 
 
 His wife, as it was God's grace, 
 Which was professed in the place 
 As she that was abbess there. 
 Unto his tale hath laid her ear. 
 She knew the voice, and the visage : 
 For pure joy, as in a rage. 
 She stretch'd unto him all at once, 
 And fell a swoon upon the stones 
 Whereof the temple-floor was paved. 
 She was anon with water laved, 
 Till she came to herself again, 
 And then she began to seyn, 
 Ah, blessed be the high soonde,i 
 That I may see mine husband. 
 Which Whilom he and I were one. 
 
 ***** 
 Attaint they weren by the law, 
 And doomed for to hang, and draw. 
 And brent, and with the wind to blow, 
 That all the world it might know. 
 And upon this condition 
 
 The doom in execution 
 Was put anon without fail. 
 And every man hath great marvel 
 Which heard tellen of this chance, 
 And thanketh God's purveyance, 
 Which doth mercy forth with justice. 
 Slain is the murd'rer, and murd'ress, 
 Through very truth of righteousness ; 
 And through mercy safe is simplesse 2 
 Of her, whom mercy preserveth. 
 Thus hath he well, that well deserveth." 
 
 Dramatis Persons. — No list of Dramatis Personse is found in 
 the quartos. It is first given at the end of the play in the 3d folio, 
 where it is headed " The Actors name." Antiochus is there described 
 
 1 Soonde — gift. 2 Simplesse — simplicity. 
 
Notes 1 53 
 
 as "a Tyrant of Greece." Then follows " Hesperides Daughter to 
 Antiochus." Dionyza is called " Dionysia," and Mytilene " Metaline." 
 Another character is introduced, namely, " Philoten Daughter to 
 Cleon." The errors and omissions were partly corrected by Rowe and 
 partly by Malone (Cambridge ed.). 
 
 ACT I 
 
 In the quartos there is no division into acts or scenes. In the 
 folios the acts are marked (the first being headed " Actus Primus. 
 Scena Prima ^^^, but not the scenes. 
 
 Gower's Prologue. — Gower of course appears as the ghost of 
 the poet. Accordingly, in his last speech (v. 2. 2), he reminds us 
 that he will soon be " dumb," and that this is his "last boon" be- 
 fore leaving the upper world. 
 
 1. That old. Steevens reads "of old" (the conjecture of 
 Malone) ; but the expression is probably intended as an archaism. 
 
 2. Come. Steevens conjectures " sprung," for the rhyme. 
 
 6. Holy-ales. Rural festivals. Cf. Launce's pun in T. G. of V. 
 ii. 5. 61 : "to go to the ale with a Christian." The early eds. here 
 have " holydayes," " holy dayes," " holy-daies," etc, ; corrected by 
 Steevens. A rhyme is evidently required. Ember-eves are the 
 eves of the ember-days, or days of fasting. 
 
 7. In their lives. Malone changes in to "of" (the conjecture 
 of Farmer). 
 
 9. Purchase. Gain, profit (from reading the tale) ; changed by 
 Malone to " purpose." Cf. i. 2. 72 below. 
 
 ID. Et bonum, etc. And a good thing, the older the better. 
 The original saying, as Steevens notes, has " communius " for 
 antiquius. 
 
 13. And that. And if. 
 
 15. I life would wish, etc. Mr. Robert Boyle, in his paper "On 
 Wilkins's Share in the Play called Shakspere's Pericles^'' (read 
 before the New Shaks. Soc. March 10, 1882, and printed in the 
 
154 Notes [Act I 
 
 Transactions, p. 321), compares The Travels of Three English 
 Brothers (see p. 17 above) : "Our lives are lighted tapers that 
 must out." 
 
 16. Waste. Spend. Cf. M. of F. iii. 4. 12 : " converse and 
 waste the time together," etc. 
 
 19. His chief est seat. Steevens quotes Twine (see p. 11 above) : 
 " The most famous and mighty King Antiochus, which builded the 
 goodlie city of Antiochia in Syria, and called it after his owne 
 name, as the chiefest seat of all his dominions." 
 
 21. Fere. Mate, partner ; as in 7". ^. iv. 1.89: — 
 
 " the woful fere 
 And father of that chaste dishonour'd dame." 
 
 Cf. Spenser, F. Q. i. 10. 4 : — 
 
 " But faire Charissa to a lovely fere 
 Was lincked, and by him had many pledges dere ; " 
 
 Id. iv. 3. 52 : "And Cambel tooke Cambina to his fere," etc. 
 The early eds. have " peere " or " peer ; " corrected by Malone. 
 The MS. probably had "pheere." 
 
 23. Buxom. Lively, fresh ; a word which S. puts only into the 
 mouth of Pistol {^Hen. V. iii. 6. 27). Cf. Milton, L Allegro, 24; 
 " buxom, blithe, and debonair." 
 
 FiM of face. " Completely, exuberantly beautiful " (Malone). 
 
 24. As. As if. Cf. i. I. 16 below. 
 
 29. But custom. Malone reads "By" for But, "perhaps not 
 making sufficient allowance for the inaccurate style" (Dyce). 
 
 30. Account. The quartos have " account'd " or " accounted," 
 and the folios " counted." Account is the emendation of Malone. 
 
 32. Thither frame. " Shape or direct their course thither " 
 (Malone). No similar use oi frame has been pointed out. 
 
 36. To keep her still, etc. " To keep her still to himself, and to 
 deter others" froiri demanding her in marriage " (Malone) . 
 
 39. A wight. The folio reading ; the quartos have " of wight." 
 
Scene I] Notes 155 
 
 vS. uses "cvight ( = person) in Af. W. i. 3. ^^, L, L. L.'x. i. 178, T. 
 and C. iv. 2. 12 (where it is feminine), etc. 
 
 40. Yon grim looks. Referring to the heads of the suitors who 
 had failed to read the riddle, and whose heads were fixed over the 
 palace gate. Cf. Gower's poem, p. 136 above. 
 
 41. Now. In the first three quartos, but omitted in the other 
 early eds. 
 
 42. Who. Referring to judgment. For justify the folios have 
 " testifie." 
 
 Scene I. — i. Prince. As the father of Pericles does not 
 appear to be living, this must be = " prince regnant," as Malone 
 remarks. Twine repeatedly calls him "prince of Tyrus." 
 
 6. Bring in, etc. The early eds. have " Musicke (or " Musick ") 
 bring in," etc. Malone was the first to see that a stage-direction 
 had slipped into the text. 
 
 7. For the. Fit for the. The is not in the early eds., but is due 
 to Malone. 
 
 8. Whose. Referring, like her in the next line, to daughter. 
 For Lucina (the goddess who presided over childbirth), cf. iii. 
 
 I. 10 below, and Cymb. v. 4. 43. 
 
 10. The senate-hotise, etc. That is, that the planets should sit 
 in council in order to endow her, etc. Steevens quotes Sidney, 
 Arcadia : *' The senate-house of the planets was at no time so set 
 for the decreeing of perfection in a man," etc. ; and Milton, P. L. 
 viii. 511 : — 
 
 " all heaven, 
 And happy constellations, on that hour 
 Shed their selectest influence." 
 
 13. Graces her subjects, etc. The Graces being her subjects, and 
 her thoughts the sovereign of every virtue that ennobles humanity. 
 
 15. Her face the book, etc. "Her face is as a book containing 
 all that is praiseworthy" (Clarke). Cf. R. and J. i. 3. 81 : — 
 
156 Notes [Act I 
 
 " Read o'er the volume of young Paris' face, 
 And find delight writ there with beauty's pen ; " 
 
 Macb. i. 5. 63 : — 
 
 " Your face, my thane, is as a book, where men 
 May read strange matters ; " 
 
 and L. L. Z. iv. 2. 113 : — 
 
 " Study his bias leaves, and make his book thine eyes 
 Where all those pleasures live that art could comprehend." 
 
 See also K.John, ii. i. 485, 0th. iv. 2. 71, etc. 
 
 16. As. As if. Cf. prol. 24 above. For raz^d (Malone's cor- 
 rection) the early eds. have "racte," "racket," or " rackt." 
 
 18. Her mild companion. "The companion of her mildness" 
 (Mason). For many similar instances of the use of the adjective, 
 see Schmidt, Lexicon, p. 141 6. 
 
 19. Glad. Used as a verb four times in the non-Shakespearian 
 part of the play; as also in T. A.'\. i. 166, 3 Hen. VI. iv. 6. 93, 
 Hen. VIII. ii. 4. 196, v. i. 71. 
 
 20. In my breast. The folios have "with in" or "within." 
 Desire is probably a trisyllable, as Malone makes it. 
 
 24. Boundless. The early eds. all have " bondlesse ; " corrected 
 by Rowe. 
 
 27. Hesperides. That is, the Garden of the Hesperides ; as in 
 Z. Z. Z. iv. 3. 341 : " climbing trees in the Hesperides." 
 
 It was probably a misunderstanding of the present passage that 
 led to the insertion of Hesperides as the name of the daughter of 
 Antiochus in the Dramatis Personce of 3d folio. See p. 153 above. 
 
 29. Death-like dragons. That is, deadly dragons. Daniel reads 
 " For death, like dragons, here affrights," etc. 
 
 31. Countless. Infinite. "The poet was probably thinking of 
 the countless eyes of heaven, as he calls them in 73 below" 
 (Malone). 
 
Scene I] Notes 157 
 
 ^;^. Thy whole heap, etc. " Thy whole mass must be destroyed. 
 Thy whole heap, thy body, must suffer for the offence of a part, 
 thine eye" (Malone). The early eds. have "the" for thy. 
 
 34. Sometimes. Formerly ; changed by Malone to " sometime ; " 
 but sometimes is often an adjective in S. and other vi^riters of the 
 time. 
 
 40. For. For fear of. Cf. T. G. of V. i. 2. 136, etc. Daniel 
 conjectures "met" ( = "boundary, limit") for itet. 
 
 44. To what I must. " That is, to prepare this body for the 
 state to which I must come" (Malone). 
 
 46. Who. Which ; as often. Cf. prol. 42 above. 
 
 48. Who know the world, etc. " I will act as sick men do ; who, 
 having had experience of the pleasures of the world, and only a 
 visionary and distant prospect of heaven, have neglected the latter 
 for the former ; but at length feeling themselves decaying, grasp no 
 longer at temporal pleasures, but prepare calmly for futurity" 
 (Malone). 
 
 55-57. / wait, etc. The ist quarto (followed substantially by 
 the others) reads : — 
 
 " I wayte the sharpest blow {Antiochus) 
 Scorning aduice ; read the conclusion then : 
 Which read," etc. 
 
 The folios have : — 
 
 " I waite the sharpest blow {Anfiochtis) 
 Scorning advice. Reade the conclusion then. 
 Ant. Which read," etc. 
 
 The arrangement in the text is Malone's, and is generally adopted. 
 
 59. Of all safd. Of all who have assayed, or made the trial. 
 Cf. the noun say in Lear, v. 3. 144. Mason conjectured "In all, 
 save that, mayst," etc. 
 
 62. Nor ask advice, etc. As Steevens notes, this is from Sid- 
 ney's Arcadia : " Whereupon asking advice of no other thought 
 but faithfulnesse and courage," etc. 
 
158 Notes [Act I 
 
 64. I am no viper, etc. Mr. R. Boyle (see on i. prol. 15 above) 
 compares Miseries of Inf or ced Marriage (cf. p. 24 above) : — 
 
 ''John. He is more degenerate 
 Than greedy vipers that devour their mother, 
 They eat on her but to preserve themselves. 
 
 Butler. But will not suffer 
 The husband, viper-like, to prey on them 
 That love him, and have cherished him." 
 
 For the form of the riddle in Gov^^er, see p. 137 above. 
 
 70. They, The reading in Wilkins's novel is " this," vi^hich 
 Hudson adopts. 
 
 72. Sharp physic is the last. " That is, the intimation in the 
 last line of the riddle that his life depends on resolving it" 
 (Percy). 
 
 73. Give. The early eds. have " gives." 
 
 74. Cloud. The 6th quarto and the folios misprint " could. " 
 76. Fair glass of light. Schmidt explains, doubtfully, as "reflec- 
 tion, image of light." It may mean " mirror of brilliancy, or shin- 
 ing beauty," as Mr. Rounds suggests. Mr. Tyler, having regard to 
 the v^'ords glorious casket, thinks that the idea may be that of a 
 " resplendent and dazzling glass vase." 
 
 81. Sense. Sensual appetite; as \n M. for M. i. 4. 59, ii. 2. 169, 
 etc. 
 
 87. Touch not, etc. Steevens remarks : " This is a stroke of 
 nature. The incestuous king cannot bear to see a rival touch the 
 hand of the woman he loves. His jealousy resembles that of An- 
 tony \_A. and C. iii. 13. 125] : — 
 
 " ' to let him be familiar with 
 My playfellow, your hand," etc." 
 
 93. Braid. Reproach. The verb is found in some old diction- 
 aries — Huloet's, for instance, which has also <^ra?V(?;- = upbraider. 
 Nares quotes the Mirror for Magistrates : " And ask forgivenesse 
 
Scene I] Notes 1^9 
 
 for the hastie braid." Many editors follow Malone in printing 
 " 'braid," as if contracted from upbraid. 
 
 96. For vice repeated, etc. He who reports vicious actions is 
 like the wind, which, while it passes along, blows dust in men's 
 eyes. When it has passed, the eyes, though sore, see clear enough 
 to stop for the future the air that would hurt them. 
 
 !00. The blind mole, etc. Critics who believe that S. had some 
 hand in the first two acts quote this passage as clearly Shake- 
 spearian. Herford remarks that the lines are " sharply contrasted, 
 in their careless nobility of phrase and their defiance of rhythmic 
 symmetries, with the careful rhetoric in which they are embodied." 
 It is the only passage that he and others praise in this way; but 
 inferior poets now and then strike a note or two above their aver- 
 age strain. So good a critic as Sidney Lee believes that S. wrote 
 Wolsey's " Farewell " in Hen. VIII. ; but, as Dowden says, " it is 
 certainly Fletcher's, and when one has perceived this, one perceives 
 also that it was an error ever to suppose it written in Shakespeare's 
 manner." Many similar instances of seeing the master dramatist 
 in scattered passages that cannot be his, though occurring in plays 
 in which he may have had some share, might be cited. 
 
 loi. Copped. "Rising to a top or head " (Steevens). Sandys, 
 in his Travels, speaks of *•' copped caps," and Gascoigne (Hearbes) 
 of "high-copt hats." Cf. T. of S.\. i. 60: "a copatain hat." 
 For throng' d Steevens reads "wrong'd." 
 
 102. Poor worm. The mole is so called out of pity. Steevens 
 compares Temp. iii. i. 31 : " Poor worm ! thou art infected." 
 
 107. First. Found only in the 1st and 2d quartos. 
 
 no. Gloze. Use flattery or deceit. Cf. Rich. II. ii. i. 10 : "they 
 whom youth and ease have taught to gloze," etc. 
 
 III. Edict. Accented by Elizabethan writers on either syllable, 
 according to the measure. 
 
 113. Cancel of. The quartos have "counsell of," the folios 
 " cancel off." The text is due to Malone, who is probably right in 
 regarding cancel as a noun. 
 
1 60 Notes [Act 1 
 
 114. Tree. Strangely used, and perhaps corrupt. 
 
 116. Forty days. In the old versions of the story, Twine's in- 
 cluded, the number is thirty. 
 
 119. Entertain. Not used as a noun by S. 
 
 127. Where. Whereas. Cf. T. G. of V. iii. i. 74, Cor, i. i. 104, 
 etc. For you ''re the quartos all have " you." 
 
 129. Pleasure. The early eds. have "pleasures; " corrected by 
 Rowe. 
 
 135. Blush not. That is, who blush not. 
 
 136. Shtm. The early eds. have "shew;" corrected by 
 Malone. 
 
 139. Sin. Collier conjectures " blame," for the sake of the 
 rhyme. 
 
 143. The which. The early eds. omit the. 
 
 150. There? The folios have " here." 
 
 152. Partakes. Imparts. Cf. W. 7". v. 3. 132; the only instance 
 of this sense in S. 
 
 163. Like. The quarto reading, changed in the folios to "as." 
 Cf. ii. 4. 36 below. 
 
 165. Level. Aim ; as in ii. 3. 114 below. Cf. Rich. ILL. iv. 4. 
 202, etc. 
 
 168. PistoVs length. For the anachronism, cf. I Hen. IV. ii. 4. 
 380, etc. 
 
 Scene II. — i. Change of thoughts. "That change in the- dis- 
 position of his mind — that unusual propensity to melancholy and 
 cares, which he afterwards describes, and which made his body pine 
 and his soul to languish" (Mason). Malone and Steevens read 
 " charge of thoughts," and the former takes thoughts to be = melan- 
 choly ; a sense which it sometimes has in the singular, but rarely, if 
 ever, in the plural. Singer (2d ed.) reads " charge our thoughts," 
 and Staunton conjectures " change our thoughts." 
 
 3. Be my. The early eds. have " By me ; " corrected by Dyce 
 (the independent conjecture of Verplanck). As = that. 
 
Scene II] Notes i6i 
 
 8. Arm. Changed by Dyce to " aim." Cf. T. and C. ii. 3. 15 : 
 " short-armed ignorance ; " where some want to read " short- 
 aimed." 
 
 15. Cares it be not done. Is anxious lest it be done. 
 
 18. So great can make. So great that he can make. Cf. 25 just 
 below. 
 
 20. Honour him. The early eds. omit ki7n, which Rowe 
 supplied, 
 
 25. The ostent. The display. The early eds. have "the stint ;" 
 corrected by Malone (the conjecture of Tyrwhitt). Steevens quotes 
 Dekker, Entertainment of Jatnes I., 1604: "And why you bear 
 alone, th' ostent of warre," 
 
 26. Amazement. Bewilderment. 
 
 30. Who am. The early eds. have " once " for am^ which was 
 suggested by Farmer. 
 
 31. Fence. Guard, protect. 
 
 41. Heat. The 1st quarto has "heate," the other early eds. 
 "heart." For blast (Mason's conjecture) the early eds. have 
 "sparke " or "spark." 
 
 44. Signior Sooth. " A near kinsman of this gentleman is men- 
 tioned in W. T. [i. 2. 196] : 'Sir Smile, his neighbour'" (Malone). 
 For sooth = flattery or flattering assent, cf. Rich. II. iii. 3. 136. 
 The early eds. omit a^. 
 
 55. Plants. The reading of the ist quarto ; " planets " in all the 
 other early eds. 
 
 62. Let their ears hear their faults hid ! " Suffer their ears to 
 hear their failings palliated " (Holt White) ; listen to the flattery 
 which hides (or ignores) their faults. Dyce changes hid to " chid," 
 taking let to be = hinder. The emendation is plausible, but not 
 absolutely required. 
 
 64. Mak'st. The early eds. have " makes." So in 68 below 
 they have "ministers" (" minister's " in 3d folio). 
 
 74. Are arms to princes. " Such as bring additional strength to 
 princes and joy to their subjects " (Mason). Steevens reads "Bring 
 
 PERICLES — II 
 
1 62 Notes [Act I 
 
 arms to princes and to subjects joy." White thinks a line has been 
 lost before this one. 
 
 78. Sjuooth. Flatter. Cf. i?zV/?. ///. i. 2, 169: "smooth, deceive, 
 and cog," etc. 
 
 82. Who. Which. Cf. i. i. 46 above. 
 
 %2i' Bethought me. The early eds. omit me. w^hich is due to 
 Rovv^e. 
 
 86. Doubt it. Suspect it, fear it. Cf. i. 3. 22 below. The first 
 three quartos have " doo't," the other early eds. " thinke " or 
 *' think." The emendation was suggested by Steevens, and is 
 confirmed by lop that doubt below. 
 
 92. Call V. The early eds. have " call," which the Cambridge 
 ed. retains. 
 
 93. Spares. The reading of ist quarto; "feares" or "fears" 
 in the other early eds. 
 
 95. Reprov'st, The early eds. have " reprou'dst," " reprovedst," 
 or " reproved'st." 
 
 100. Grievco The reading of the 5th quarto ; the other early 
 eds. add " for." 
 
 116. Intend. Schmidt makes this = "bend, direct" (compar- 
 ing I Hen. IV. i. i. 92, A. and C. v. 2. 201, etc.); but it may have 
 its ordinary sense. 
 
 122. Orbs. Spheres. Cf. i Hen. IV. v. i. 17; — 
 
 " And move in that obedient orb again 
 Where you did give a fair and natural light," etc. 
 
 The allusion is to the crystalline spheres of the Ptolemaic astronomy. 
 We '//. The ist quarto has "will," the other early eds. "we ; " 
 corrected by Malone. 
 
 123. Convince. Overcome, confute. Cf. Cymb. i, 4. 104, etc. 
 
 124. Shine. For the noun, cf. V. and A. /^SS, 728, and T. of A. 
 iii. 5. loi. 
 
 Scene III. — 4. A zvise fellow. "Who this wise fellow was may 
 be known from Barnabie Riche's Souldier^s Wishe to Briton's 
 
Scene IV] Notes 163 
 
 Welfare, 1604: 'I will therefore commende the poet Philipides, 
 who being demanded by King Lisimachus, what favour he might 
 doe unto him for that he loved him, made this answere to the 
 king, that your majesty would never impart unto me any of your 
 secrets'" (Steevens). 
 
 9. Hush ! The early eds. all have " Husht," which was an occa- 
 sional form of hush. 
 
 22. Doubting. Fearing. See on i. 2. 86 above. 
 
 24. Shipman. Cf. T. and C. v. 2. 172 and Macb. i. 3. 17. 
 
 25. Life or death. The writer doubtless meant that life or death 
 was the question each minute. Hudson reads " life with death " 
 (the conjecture of Daniel). 
 
 28. The kiftg's ears it must please. The early eds. have " the 
 King's Seas must please," which Malone takes to mean " must do 
 their pleasure, must treat him as they will." Percy conjectures 
 " the king it sure must please." Knight reads " the king sure must 
 please," and Collier, " the king's ease must please." The text is 
 the conjecture of Dyce and is the best solution of the enigma that 
 has been proposed. 
 
 37. Desire it. Malone suggested the addition of " told." 
 Hudson reads " inquire of it " (Walker had conjectured " inquire 
 it"). 
 
 38. Commended. That is, you being commended. 
 
 Scene IV. — 8. Mischiefs. If this be the author's word, it must 
 be used in a subjective sense = " misery's," which Hudson substi- 
 tutes (the conjecture of Walker). Steevens reads "mistful," and 
 Singer "mistie." Malone changes and seen to "unseen." 
 
 9. Topp''d. Lopped. The trees only grow the higher for it ; 
 and so with the griefs if we attempt to console ourselves by talking 
 of the griefs of others. 
 
 13. Our tongues and sorrows do sound deep. Hudson reads 
 " Our tongues do sound our sorrows and deep woes." 
 
 15. Tongues. Steevens conjectures "lungs," which some adopt. 
 
164 Notes [Act I 
 
 Clarke compares Rich. II. i. 3. 173: "Which robs my tongue from 
 breathing native breath ; " and Id. i. 3. 257 : — 
 
 " When the tongue s ofhce should be prodigal 
 To breathe the abundant dolour of the heart." 
 
 16. Heaven. Cf. Macb. ii. i. 4: — 
 
 " There 's husbandry in heaven ; 
 Their candles are all out." 
 
 For other instances of the plural, see Rich. II. i. 2. 6, Haju. iii. 4. 
 173, 0th. iv. 2. 47, etc. 
 
 17. Helps. The old eds. have "helpers ; " corrected by Malone. 
 
 18. Discourse our woes. Staunton conjectures "discourse of 
 woes ; " but cf. M. N. D. iv. 2. 29 : "I am to discourse wonders," 
 etc. 
 
 23. Riches. Singular, as the word originally was (Fr. richesse). 
 Cf. Sonn. 87. 6, 0th. ii. i. %'i, iii. 3. 173, etc. Steevens would make 
 Tarsus the subject of strew' d^ taking for riches to be = " with 
 respect to riches." 
 
 26. Jetted. Strutted, stalked. Cf. T. N. ii. 5. 36 : " how he jets 
 under his advanced plumes ! " 
 
 27. One another's glass. Cf. 2 Hen. IV. ii. 3. 21 : — 
 
 " he was indeed the glass 
 Wherein the noble youth did dress themselves." 
 
 See also Ham. iii. i. 161, Cyjnb. i. i. 49, etc. 
 
 34. Who. Changed by Malone to "whom;" but this use of 
 who is common. 
 
 39. Not yet two siwimers younger. The ist quarto has "not 
 yet two sauers younger," which is repeated essentially by the other 
 early eds. Malone and Knight read " us'd to hunger's savour," 
 and White has " us'd to savour hunger." The text is the conjec- 
 ture of Mason, and, as the Cambridge editors remark, is supported 
 by the following from Wilkins's novel : "The ground of which forced 
 lamentation was, to see the power of change, that this their City, 
 
Scene IV] Notes 165 
 
 who not two summers younger, did so excell in pompe," etc. The 
 meaning is, "Those palates which, less than two years ago, required 
 some new inventions of cookery to delight their taste, would now 
 be glad of plain bread" (Mason). 
 
 42. Nousle. Nurse, cherish. Cf. Spenser, F. Q. i. 6. 23 : — 
 
 " Whom, till to ryper years he gan aspyre, 
 He nousled up in life and manners wilde; " 
 
 Id.\. I. 6: "In which she noursled him till yeares he raught ; " 
 Id. vi. 4. 35 : " Or noursle up in lore of learn'd Philosophy," etc. 
 
 43. Curious. Elegant, nice ; as in 3 Hen. VI. ii. 5. 53 : " couched 
 in a curious bed; " Cymb. v. 5. 361 : "lapp'd In a most curious 
 mantle," etc. 
 
 54. Hear. Changed by some to " heed." Cf. Cymb. iv. 3. 36 : — 
 
 " I heard no letter from my master since 
 I wrote him Imogen was slain." 
 
 We often speak of hearing what we have learned by means of 
 letters or in other ways than hear strictly implies. 
 
 61. Sail. Fleet ; not used by S. in this sense. 
 
 65. Nation, A trisyllable. 
 
 67. Hath. The early eds. all have " That ; " corrected by Rowe, 
 
 69. Unhappy me. Malone changes me to " men," and Steevens 
 conjectures " we." 
 
 70. Whereas. Where. Cf. 2 Hen. VI. i. 2. 58, etc. To over- 
 come ■=■ by overcoming, or victory. 
 
 71. Semblance. A trisyllable. See p. 132 above. 
 
 74. Like hit7z 'j. " like him who is ; " which Steevens was in- 
 clined to read, making Thou speak' st a separate line. For him 's 
 the early eds. have "himmes," "hymmes," "hymnes," "hymns," 
 etc. 
 
 83. Consist. Insist. Cf. 2 Hen. IV. iv. i. 187. 
 
 92. Happily. Haply ; as not unfrequently. 
 
 93. Was stuffed. Which was stuffed. Some editors adopt Stee- 
 vens's conjecture of " war-stuff 'd." 
 
1 66 Notes [Act II 
 
 94. Veins. The persons enclosed form, as it were, the veins 
 (the blood or life) of the wooden horse. Malone has " views " 
 (proposed by Steevens), and Collier conjectures "bones." Ex- 
 pecting overthrow refers to you. 
 
 98. Arise. Changed by Steevens to "Rise." For rise, all the 
 early eds. but the ist quarto have " arise," which Rowe adopts. 
 
 102. In thought. Even in thought. Malone conjectures "in 
 aught." 
 
 ACT II 
 
 Gower's Prologue. — 2. / wis. I know ; as iwis or ywis 
 (the adverb = certainly) came to be understood. 
 
 3. Benign. Accented on the first syllable. The word does not 
 occur in S. 
 
 4. Awful. Full of awe, reverent, or " conscientious " (Schmidt). 
 Cf. T. G. of V. iv. I. 46: "awful men," etc. 
 
 7. / '// show you those, etc. " I will now exhibit to you persons 
 who, after suffering small and temporary evils, will at length be 
 blessed with happiness" (Malone). The title of the chapter in 
 the Gesta Romanoru^n in which the story of Appolinus is told is 
 " De tribulatione temporali quae in gaudium sempiternum pos- 
 tremo commutabitur." 
 
 9. Conversation. Conduct. Cf. A. and C. ii. 6. 131 or 2 Hen. IV. 
 V. 5. 106. Steevens cites 2 Peter, iii. 11. Gower means to say 
 " The good prince (on whom I bestow my best wishes) is still at 
 Tarsus, where every man," etc. 
 
 12. Thinks all is writ. , Probably = thinks all is as holy writ. 
 
 Speken. The early eds. all have " spoken ; " corrected by White. 
 Speken is an obsolete form of speak. Cf. killen in 20 below. 
 
 14. Build. Steevens would read " Gild," quoting Gower's de- 
 scription of the statue : " It was of laton over-gylte." 
 
 19. Though he strive. The early eds. have "for though," for 
 which Steevens conjectures "forth "(= "thoroughly," for which 
 
Prologue] Notes 167 
 
 meaning he thinks he finds authority in M.forM. v. i. 255), and 
 Singer and White read " for-thy " (= therefore). Hudson is prob- 
 ably right in dropping " for," but I cannot accept his interpreta- 
 tion of though, which he makes = " since, for, because," though I 
 have no better one to suggest. It is a sufficient objection to the 
 emendations of Steevens and Singer that they would require strives 
 rather than strive. 
 
 21. Prince'. The early eds. have "prince" or "princes." Ma- 
 lone is doubtless right in considering the word one of the contracted 
 possessives not unfrequently found in S. Cf. Rich. III. i. 4. 191 : 
 " poor Clarence' death," etc. See also p. 132 above. 
 
 22. Sends word. The early eds. have " Sau'd one " or " Sav'd 
 one." The emendation (which Halliwell-Phillipps says was sug- 
 gested to Steevens by a MS. note of Theobald's) is confirmed by 
 Wilkins's novel : " Good Helycanus as prouident at home, as his 
 Prince was prosperous abroade, let no occasion slip wherein hee 
 might send word to Tarsus of what occurrents soeuer had hap- 
 pened in his absence," etc. 
 
 27. Doing so. That is, as Helicanus recommended. Steevens 
 conjectures "knowing so," which some adopt, 
 
 28. Been. Archaic for are. Most of the early eds. have " bin," 
 a common spelling in old writers. 
 
 32. Wracked. All the early eds. have "wrackt," the only form 
 in S. for verb or noun. Note the rhyme in iv. prol. 11, 12 below. 
 
 36. Escapen. The early eds. have "escapend" or "escapen'd; " 
 corrected by Steevens (the conjecture of Percy). See on 12 above. 
 Ne ■= nor, as often in Old English. 
 
 38. Give him glad. Percy conjectures " make " for ^zz^^ / but 
 the expression is doubtless meant to be an archaism. Steevens 
 remarks : " The language of our fictitious Gower is so often irrec- 
 oncilable to the practice of any age that criticism on such bungling 
 imitations is almost thrown away." 
 
 40. This longs the text. This belongs to the text. Even here 
 some editors print " 'longs," but it is not a contraction of belo7tgs. 
 
1 68 Notes [Act 11 
 
 Scene I. — Pentapolis. One of the names given to the district 
 of North Africa otherwise known as Cyrenaica. It is found in all 
 the old versions of the story. 
 
 6. Me breath. The early eds. have " my breath." 
 
 12. What, ho. Pilch ! The early eds. have "what, to pelch ? " 
 The correction is Malone's. Pilch meant a leathern coat, and is 
 put for the wearer, like Patch-breech just below. 
 
 17. Wanion. "Used only in the phrase with a wanion, but 
 totally unexplained, though exceedingly common in use ; seemingly 
 = with a vengeance, or with a plague" (Nares). S. does not use 
 the word. 
 
 21. Alas, poor souls, etc. Cf. W. 7". iii. 3. 91 fol. : "O, the most 
 piteous cry of the poor souls ! " etc. 
 
 26. Porpus. Porpoise; spelt "porpas" in all the early eds. 
 The notion that the appearance of porpoises forebodes a storm is 
 very old. Malone quotes Webster, Duchess of Malfi : " He lifts 
 his nose like a foul porpus before a storm." 
 
 30. A-land. Steevens says that the word occurs several times 
 in Twine's novel. The hyphen is found only in the ist quarto. Cf. 
 iii. 2. 69 below. 
 
 The great ones eat up the little ones. Mr. R. Boyle (see on i. 
 proL 15 above) compares Wilkins's Miseries of Inforced Mar- 
 riage : — 
 
 " These men, like fish, do swim within one stream, 
 Yet they 'd eat one another ; " 
 
 and Day's Law Tricks (in which he thinks Wilkins had a share), 
 i. 2: — 
 
 "Joculo. But, madam, do you remember what a multitude of fishes 
 we saw at sea ? and I do wonder how they can all live by one another. 
 
 Emilia. Why, fool, as men do on the land ; the great ones eat up 
 the little ones." 
 
 Again, in the same play, we find : — 
 
 " Adam. I knew one of that faculty in one term eat up a whole town, 
 church, steeple, and all, 
 
Scene I] Notes 1 69 
 
 Julio. I wonder the bells rung not all in his belly." 
 
 51. Finny. The early eds. have "fenny." The correction is 
 supported by Wilkins's novel : " Prince Pericles wondering that 
 from the finny subjects of the sea these poore country people 
 learned the infirmities of men." 
 
 55. Honest, Often used in addressing inferiors. Cf. Z. Z. Z. 
 V. I. 162: "honest Dull;" M. N. D. iii. i. 48: "Your name, 
 honest gentleman," etc. 
 
 57. If it be a day fits you, search, etc. The text is doubtless 
 corrupt, and has been variously emended. Malone reads " scratch 
 it" (the conjecture of Steevens) for search, and Hudson adopts the 
 anonymous conjecture "steal 't." Clarke thinks the meaning may 
 be "search it out " (that is, "with intention to take"), and nobody 
 " will look after it." Farmer thinks that in honest there may be 
 an allusion to the dies honestissimus of Cicero. Malone remarks : 
 " Some difficulty, however, will remain, unless we suppose a pre- 
 ceding line to have been lost ; for Pericles has said nothing about 
 the day. I suspect that in the lost line he wished the men a good 
 day.^^ Knight, who retains the old text, asks : " Does it not mean 
 that the fisherman, laughing at the rarity of being honest, remarks, 
 If it be a day (that is, a saint's or red-letter day) fits you, search 
 out of (not in^ the calendar, and nobody look after it (there, as it 
 would be useless) ? " 
 
 59. You may see, etc. The quartos read : " May see the sea hath 
 cast upon your coast ; " and the folios : " Y' may see the sea hath 
 cast me upon your coast." The text is due to Malone (ed. 1780), 
 but he afterwards adopted the conjecture of Steevens : " Nay, see, 
 the sea hath cast upon your coast — ; " the sentence being con- 
 tinued, after the interruption by the fisherman, with "A man 
 whom," etc. White believes that " a speech, or more, preceding 
 this one has been lost." 
 
 63. In that vast tennis-court, etc. Boyle quotes The Travels of 
 the Three Ettglish Brothers (see p. 17 above) : — 
 
lyo Notes [Act ii 
 
 " Think that the seas 
 Play'd with us but as great men die a-land, 
 Hurl'd us now up, now down." 
 
 Steevens compares Sidney, Arcadia : " In such a shadow . » . man- 
 kind lives, that neither they know how to foresee, nor what to feare, 
 and are, like tenis bals, tossed by the racket of the higher powers." 
 
 For hath J7iade, the reading of all the early eds., and probably a 
 " confusion of construction " on the part of the writer, Dyce reads 
 "have made." 
 
 76. Throng' d up. "Filled completely, possessed entirely" 
 (Schmidt); or "hard pressed, beset" (Clarke). Cf. i. i. loi 
 above. Steevens conjectures " shrunk up." 
 
 81. Quoth-a? The early eds. all have "ke-tha; " corrected by 
 Malone. 
 
 83. Afore me. By my life, on my soul. Cf. R. and J. iii. 4. 34 : 
 " Afore me, it is so very late," etc. 
 
 84. Holidays. The early eds. have " all day ; " corrected by 
 Malone. 
 
 85. Mored'er. Farmer's correction of the "more ; or" of the 
 early eds. 
 
 86. Flap-jacks. Pancakes. The 'word is obsolete in England, 
 though in familiar use in New England. It is not used by S. 
 
 93. Whipped. The regular punishment for vagrants in the 
 time of S. Players were liable to be counted vagrants ; and Tyler 
 sees an allusion to this in Ham. iii. 2. 555. 
 
 95. O, not all. Walker conjectures " O, no, not all." 
 
 104. Pentapolis. The quartos spell it " Pantapoles," and the 
 folios " Pantapolis." 
 
 116. Just. Tilt. Cf. the noun in Rich. II. v. 2. 52. 
 
 121. What a man cannot get, etc. The meaning seems to be 
 that " what a man cannot accomplish he may lawfully endeavour 
 to obtain " (Mason) ; but what his wife^s soul has to do with it is 
 not so clear. As Knight remarks, " there are more riddles in this 
 play than that of Antiochus." Clarke explains it thus : " A man 
 
Scene I] Notes 171 
 
 who has not much chance of getting his wife's soul out of purga- 
 tory may nevertheless pay for masses with that view." Steevens 
 conjectures that His wife^s soul begins a new sentence, which is 
 interrupted by the next speaker. Tyler suggests " steal " for deal ; 
 that is, " a man may steal for his wife's salvation." I am inclined 
 to agree with White that something has probably been lost. 
 
 125. Bots on V / A comic execration found in sundry old writers. 
 Percy quotes the ballad of The Miller of Mansfield : "Quoth Dick, 
 a bots on you ! " 
 
 128. Thy crosses. The early eds. omit thy, which Delius sup- 
 plied from Wilkins's novel. Malone reads "my." 
 
 130. And though. Walker conjectures " An though." "I thank 
 you" is understood before though, being implied in Thanks, fortune. 
 
 134. Brace. Armour for the arm. Cf. its figurative use in 0th. 
 i. 3. 24 : " in such warlike brace." We find vantbrace in T. and 
 
 a i. 3. 297. 
 
 136. The which, etc. Steevens reads " Which gods protect thee 
 from! — it may," etc. The early eds. have "thee, Fame may" for 
 thee from ! — U may, which is the reading of Malone. The Cam- 
 bridge ed. has "from ! — may defend thee." 
 
 138. Spare. The early eds. have " spares ; " corrected by 
 Malone. 
 
 149. Fortune's better. The reading of the early eds. Some 
 editors adopt Mason's conjecture of "fortunes better," making 
 better a verb. 
 
 153. Do '<?. The reading of the ist quarto. The 2d and 3d 
 quartos have "di'e," and the other early eds. omit it. Malone 
 reads " do ye." 
 
 157. Condolements. Blunderingly used by the fisherman — per- 
 haps somehow confused with dole (= share, portion), for which see 
 
 W. T. i. 2. 63 : " Happy man be his dole ! " (Happiness be his 
 portion !), etc. 
 
 158. Vails is explained by Schmidt as "money given to ser- 
 vants," but it was also = avails. Some print " 'vails " here. 
 
172 Notes [Act II 
 
 159. Had it. The early eds. have "had them; " corrected by 
 Malone. 
 
 161. Furtherance. Assistance ; a good word enough, though 
 Steevens wanted to read " forbearance." 
 
 162. Rapture. Violent seizure (the etymological sense), rob- 
 bery. The early eds. have " rupture ; " but Rowe's emendation is 
 confirmed by Wilkins's novel : " a jewel, whom all the raptures of 
 the sea could not bereave from his arm." 
 
 163. Building. A suspicious word, though it may possibly be 
 = firm position, fixed place, as some explain it. Malone at first 
 changed it to "gilding," but later he adopted Steevens's conjecture 
 of " biding." " Binding " has also been suggested. His = its ; as 
 often. For Jewel, as applied to any personal ornament or precious 
 thing, cf. T. N. ii. 4. 125, ii. 5. 67, iii, 4. 228 (where it is a pic- 
 ture), etc. 
 
 164. Unto thy value. That is, according to it. Walker would 
 change thy to " the." He asks, " Why should he apostrophize the 
 jewel ?" Clarke aptly replies that " he does so in the sudden glad- 
 ness of discovering that he still possesses this resource wherewith 
 to purchase the horse he needs for the tournament." 
 
 168. Bases. " A kind of embroidered mantle which hung down 
 from the middle to about the knees or lower, worn by knights on 
 horseback " (Nares). It must of course have consisted of two 
 parts — a double skirt, perhaps. Steevens quotes Sidney, Arcadia: 
 " About his middle he had, instead of bases, a long cloake of 
 silke," etc. Mason adds, from Massinger's Picture : " Your petti- 
 coat serves for bases to this warrior." 
 
 172. A goal to. Dyce conjectures " but goal unto," and Staunton 
 " equal to." 
 
 Scene II. — i. Triumph 9 Tournament. The original mean- 
 ing of the word (as often in the Roman plays of S.) was " the tri- 
 umphal procession of a conqueror with his captives and spoils." 
 But it came to be applied in feudal times, as Knight remarks, " to 
 
Scene II] Notes 173 
 
 those ceremonials which the genius of chivalry had adopted from 
 the mightier pomps of antiquity, imitating something of their splen- 
 dour, but laying aside their stern demonstrations of outward exul- 
 tation over their vanquished foes. There were no human captives 
 in massive chains — no lions and elephants led along to the amphi- 
 theatre, for the gratification of a turbulent populace. Edward 
 [3 Hen. VI. v. 7. 41] exclaims of his prisoner Margaret : * Away 
 with her, and waft her hence to France.' The dread of Cleopatra 
 [/4. and C. v. 2. 55] was that of exposure in the triumph : — 
 
 ' Shall they hoist me up, 
 And show me to the shouting varletry 
 Of censuring Rome ? ' 
 
 Here, then, was the difference of the Roman and the feudal man- 
 ners. The triumphs of the Middle Ages were shows of peace, 
 decorated with the pomp of arms ; but altogether mere scenic 
 representations, deriving their name from the more solemn tri- 
 umphs of antiquity. But they were not masques, as Malone has 
 stated. The Duke of York, in Rich. II. [v. 2. 52], asks : 'What 
 news from Oxford ? hold these justs and triumphs ? ' and for these 
 ' justs and triumphs ' Aumerle has prepared his 'gay apparel.' " In 
 the present passage (as in Rich. 11.^ the reference is to a tourna- 
 ment and its accompaniments. 
 
 4. Our daughter. The early eds. add " heere " or " here," which 
 Malone struck out. Return them = reply to them. 
 
 14. Interpret. The early eds. have " entertaine " or " entertain." 
 Many editors adopt Steevens's conjecture of " explain " (a word, by 
 the by, not found in S.), but Schmidt's suggestion of interpret is 
 more plausible. For honour ( = honourable duty or office), Steevens 
 conjectures " office." 
 
 21. lux ttia vita mihi. Thy light is my life. Word= motto. 
 
 27. Piu por dtdzura, etc. More by gentleness than by force. 
 The piu is Italian, the corresponding Spanish being mas. The 
 two languages were much confused by the old writers. The early 
 eds. print the motto thus : " Pue Per doleera kee per forsa." In 
 
174 Notes [Act 11 
 
 Wilkins's novel it reads : " Pue per dolcera qui per sforsa." All 
 the other mottos are Latin. 
 
 30. Me povipae provexit apex. The crown of honour has led 
 me on ; or " the desire of renown drew me to this enterprise " 
 (Wilkins). The early eds. all have " Pompey" iox pojnpae, which 
 was suggested by Steevens and is confirmed by Wilkins's novel. 
 
 33. Quod me alit, me extinguit. That which feeds me extin- 
 guishes me ; or " that which gives me life gives me death " (Wil- 
 kins). The early eds. have "Qui" for Quod, which is due to 
 Malone. 
 
 34. His. Its. Walker conjectures " her." Cf. ii. i. 163 above. 
 38. Sic spectanda fides. So faith is to be tested ; or " so faith 
 
 is to be looked into " (Wilkins). 
 
 42. Present. That which he presents or bears as a device. 
 Singer changes it to "impress." 
 
 44. In hac spe vivo. In this hope I live. 
 
 49. Commend. Used by S. as a noun only in the plural. See 
 M. of V. ii. 9. 90, Rich. II. iii. i. 38 and iii. 3. 126. 
 
 51. The whipstock. "That is, the carter's whip " (Steevens). 
 
 56. Opinion. Public opinion, reputation ; as often. 
 
 57. The outzvard habit, etc. That is, the inward man by the 
 outward dress. For examples of somewhat similar inversions, see 
 Schmidt, Lexicon, p. 1424. Steevens would transpose outward 
 and intuard. 
 
 Scene IIL — 3. To place. The reading of the 4th folio; "I 
 place " in all the other early eds. 
 
 15. An artist. Changed by Steevens to " artists " (the conjec- 
 ture of Malone). 
 
 19. Marshal. All the early eds. have " Martiall " or " Martial ; " 
 corrected by Malone. 
 
 28, 29. By Jove . . . upon. Steevens would give these lines to 
 Pericles, changing he to " she ; " but Wilkins's novel shows that 
 they belong to Simonides, as in the early eds, : " As it were by 
 
Scene III] Notes ijt 
 
 some divine operation, both king and daughter at one instant 
 were so strucke in love with the nobleness of his woorth, that they 
 could not spare so much time to satisfie themselves with the deli- 
 cacie of their viands, for talking of his prayses." 
 
 Gates. Dainties, delicacies. Cf. the play on the word in T. of S. 
 ii. I. 190 : " For dainties are all Kates." 
 
 Resist me. " Go against my stomach " (Steevens), are distaste- 
 ful to me. 
 
 He jiot thought upon. Some editors adopt Mason's conjecture 
 of " but " for not ; but the old text may be explained as by Knight : 
 " Simonides wonders that he cannot eat although he (Pericles) is 
 not thought upon. This is an attempt to disguise the cause of his 
 solicitude even to himself. It must be observed that the succeed- 
 ing speeches of Simonides, Thaisa, and Pericles are all to be re- 
 ceived as soliloquies. In the second speech, Simonides continues 
 the idea oi he not thought upon by attempting to depreciate Pericles 
 — ' He 's but a country gentleman.' " Verplanck, Dyce, and the 
 Cambridge editors also retain not, though Dyce is inclined to 
 favour " but." 
 
 30. Marriage. A trisyllable. Cf. T. of S. iii. 2. 142, etc. 
 
 34. Has. The ellipsis of the subject is not rare in Elizabethan 
 writers when it can be readily supplied. 
 
 42. Vail. Lower, let fall ; an obsolete word often confounded 
 with veil, but of different origin. Cf. iv. prol. 29 below. 
 
 43. Where. Whereas; as in i. I. 127 above. For j<?;z'^ the early 
 eds. have " sonne," " sunne," or " son ; " corrected by Malone. 
 
 46. For he V. The first three quartos have " He 's but ; " the 
 other early eds. read as here. 
 
 50. Stored. The early eds. have "stur'd," "sturd," or " stirr'd." 
 The emendation is due to Steevens. 
 
 63. Are wonder'' d at. " That is, when they are found to be such 
 small insignificant animals, after making so great a noise" (Percy). 
 " The worthless monarch and the idle gnat have only lived to make 
 an empty bluster ; and when both alike are dead, we wonder how 
 
176 
 
 Notes [Act II 
 
 it happened that they made so much, or that we permitted them to 
 make it " (Steevens) , Hudson adopts Daniel's over-ingenious 
 emendation, " but still ne'er wonder'd at." 
 
 64. Entrance. A trisyllable ; as in R. and J. i. 4. 8. The folios 
 have " entrance now." Hudson adopts Walker's suggestion of 
 "entertain." 
 
 65. Standing-bowl. "A bowl resting on a foot "(Steevens). 
 See the stage-direction in Hen. VIII. at the beginning of v. 5. 
 
 69. For impudence. As prompted by immodesty. 
 
 73. And furthermore, etc. Malone reads : " And further tell 
 him, we desire to know, Of whence," etc. 
 
 ^82. My education been. The 5th quarto has "being" for been, 
 and Singer conjectures " 's been ; " but Wilkins's novel has " his 
 name Pericles; his education beene in artes and armes," etc. 
 
 87-89. Malone " fixes up " the passage thus : — 
 
 " A gentleman of Tyre, who only by 
 Misfortune of the sea has been bereft 
 Of ships and men, and cast upon this shore." 
 
 94. Address' d. Prepared ; as often. Here, however, il may be 
 = dressed, or arrayed, 
 
 95. A soldier'' s dance. Malone says: "The dance here intro- 
 duced is thus described in an ancient * Dialogue against the Abuse 
 of Dancing ' (black letter, no date) : — 
 
 ' There is a dance call'd Choria, 
 Which joy doth testify ; 
 Another call'd Pyrricke 
 Which warlike feats doth try. 
 For men in armour gestures made, 
 And leap'd, that so they might 
 When need requires, be more prompt 
 In public weal to fight.' " 
 
 Cf. Byron, The Isles of Greece : — 
 
 " You have the Pyrrhic dance as yet ; 
 Where is the Pyrrhic phalanx gone ? 
 
Scene IV] Notes 177 
 
 Of two such lessons why forget 
 The nobler and the manlier one ? " 
 
 97. Loud music. " The loud music made by the clashing of their 
 armour" (Malone). 
 
 loi. Breathing. Exercise. Cf. Ham. v. 2. 181 : "breathing 
 time," etc. 
 
 102. Have heard. Malone reads " have often heard." 
 
 104. Measures. Slow and stately dances. Cf. Much Ado, ii. i. 
 80, etc. 
 
 114. Level. Aim; as in i. i. 165 above. 
 
 116. Speeding. Achieving success. 
 
 Scene IV. — 3-10. In the early eds. the lines of this corrupt 
 passage end with minding, that, heinous, pride, seated in, daughter, 
 shriveWd, and stunk. The modern editors have arranged them in 
 various ways. I give 3-6 as Malone has them, and 7-10 as Dyce 
 does. 
 
 10. Their. The early eds. have "those ; " corrected by Steevens, 
 and confirmed by Wilkins's novel. 
 
 13-15. Arranged as by Malone. In the early eds. the lines end 
 with great, shaft, and reivard. 
 
 19. Grieve. Grieve or offend us. 
 
 23. Griefs. Grievances ; as very often. 
 
 31. Resolv''d. Satisfied ; as in ii. 5. 68 below. 
 
 32. Give 's. Give us ; the reading of all the early eds. except the 
 5th quarto, which omits the 'j. 
 
 34. The strongest in our censure. " The most probable in our 
 opinion" (Steevens). For censure, cf. Ham. i. 3. 69, i. 4. 35, iii. 2. 
 30, 92, etc. 
 
 36. LAke. As. See on i. i. 163 above. Malone makes the line 
 a parenthesis, and reads " Soon will fall to ruin," which Steevens 
 changes to " Will soon to ruin fall." 
 
 38. Know, The reading of the first two quartos ; " knowes " or 
 " knows " in the other early eds. Malone reads " know'st." 
 
 PERICLES — I 2 
 
 X 
 
178 Notes [Act II 
 
 41. For honour'' s cause. The early eds. have "Try" instead of 
 For, which was proposed by Dyce. 
 
 43. Seas. That is, a sea of difficulty. Malone reads " seat." 
 
 45. Entreat you. Steevens reads "then entreat," and Hudson 
 " you entreat." 
 
 46. To forbear. To bear, or bear with. Hudson reads " Still 
 to forbear" (an anonymous conjecture). 
 
 50. Nobles. Steevens reads " noblemen." 
 
 56. Endeavotir it. Steevens supplied it, which is wanting in the 
 early eds. The Globe ed. has " endeavour us." 
 
 Scene V. — 2. This I let you know, etc. Clarke remarks : " The 
 expedient here devised by Simonides for having the suitors ' well 
 despatch'd ' is indeed not very consonant with the dignity of truth ; 
 but it is quite characteristic of the waggish tendency to stratagem 
 shown by the royal old gentleman, in proceeding to ' dissemble ' his 
 satisfaction at his daughter's choice, and to play off a pretended 
 anger at the lovers' mutual affection, that he may keep them in a 
 flutter of suspense until he choose to join their hands and bid them 
 wed at once as the penalty of their transgression, in daring to fall 
 in love without his leave. Steevens solemnly demurs to this con- 
 duct of Simonides; yet, though it may not be * ingenuous,' it is per- 
 fectly in character — diplomatically as well as dramatically." Cf. a 
 somewhat similar instance (but with better reason) in Temp, 
 
 10. Wear Diana's livery. Remain a maiden. 
 
 13. Loath. Steevens reads " though loath." 
 
 17. To view. The to is often used with a second verb, though 
 not expressed with a preceding one in the sentence. 
 
 18. '7" is well, mistress. Steevens has " Mistress, 't is well." 
 
 25. Beholding. Changed by Malone to "beholden," which is 
 not found in S. and other writers of the time. 
 
 34. A most. Steevens reads : " As of a most." 
 
 39. And she ivill be your scholar. Steevens reads : " And she '11 
 your scholar be." 
 
Scene V] Notes 1 79 
 
 49. Thou hast bewitchhi my daughter. Cf. 0th. i. 2. 63 fol. 
 
 52, Levy. A strange use of the word, though intelligible enough. 
 
 62. Her. The 5th quarto has " our," and Walker suggests 
 " your." 
 
 68. Resolve. Satisfy, inform. See on ii. 4. 31 above. 
 
 71. Say. Found only in the ist quarto. 
 
 87. A further. The early eds. omit a, which Malone supplied. 
 
 89. My life, or blood. The early quartos have " my life my 
 blood." 
 
 92. That I will. Malone reads " that I '11," and Steevens 
 « I '11." 
 
 93. And then. Steevens omitted And. He also remarks here : 
 " I cannot dismiss the foregoing scene till I have expressed the 
 most supreme contempt of it. Such another gross, nonsensical dia- 
 logue would be sought for in vain among the earliest and rudest 
 efforts of the British theatre. It is impossible not to wish that the 
 Knights had horsewhipped Simonides, and that Pericles had kicked 
 him off the stage," 
 
 ACT III 
 
 Gower's Prologue. — i, Yslaked. For the old participial pre- 
 fix y-, cf. 35 below. 
 
 2. The house about. The early eds. have "about the house; " 
 corrected by Malone. 
 
 3. Breast. All the early eds. except the first three quartos mis- 
 print " beast." 
 
 5. Eyne. This old plural is often used by S. for the sake of the 
 rhyme, and in R. of L. 1229 independently of the rhyme. 
 
 6. Fore. The early eds. have " from ; " corrected by Malone, 
 
 8. E'er, The early eds. have "Are," for which Malone reads 
 " As," and Dyce " Aye." E'er was a conjecture of Dyce first put 
 in the text by Singer. Clarke retains " Kx^ ; " and the ellipsis is 
 not unlike many in these Gower passages. 
 
1 80 Notes [Act III 
 
 13. Eche. An old spelling of eke, found in early eds. in M. of V. 
 iii. 2, 23 and Hen. V. iii. chor. 35. Quaintly — skilfully. Cf. T. 
 G. of V. ii. I. 128, M. of V. ii. 4. 6, etc. 
 
 14. Plain. Make plain, explain. 
 
 15. Dertt. "Lonely, solitary, melancholy" (Steevens); or 
 "dreadful" (Schmidt). Some make it = " earnest, eager." It 
 seems to be found in old writers in all these senses. It is often 
 spelt dearn. Perch is doubtless the measure of length (=rod), 
 but some have thought it to be = resting-place. 
 
 17. Coigns. Corners. Cf. Macb. i. 6. 7 and Cor. v. 4. i. The 
 early eds. have " crignes ; " corrected by Rowe. 
 
 21. Stead the quest. Aid the search. Cf. iv. prol. 41 below, and 
 M. of V. i. 3. 7 : " May you stead me," etc. 
 
 27. Set on. For the double preposition, cf. A. Y. L. ii. 7. 139, 
 Cor. ii. I. 18, etc. 
 
 29. Oppress. Suppress, put down. Steevens reads " appease." 
 
 32. Dooms. Judgments. Cf. v. 2. 20 below. 
 
 35. Yravished. The ist quarto has " Iranyshed," the 2d " Irany 
 shed," and the other early eds. " Irony shed ; " corrected by Stee- 
 vens. See on i above. 
 
 36. Can. An old form of gan (= began). Cf. L. L. L. iv. 
 3. 106. 
 
 46. Fortune's mood. The early eds. have " fortune mou'd " 
 ("moou'd" or "mov'd") ; corrected by Steevens. 
 
 47. Grisly. Terrible. The ist quarto has "grisled; " the other 
 early eds. " grislee " or grisly. 
 
 51. Well-a-near. "Well-a-day" (which Wilkins has instead); 
 a provincial interjection. 
 
 53. Fell. The reading of the 1st quarto ; "selfe" or "self" in 
 the other early eds. Verplanck takes fell to be a corruption of the 
 modern editors, and reads " self." 
 
 55. Nill. Will not. Cf. Ham. v. i. 19, etc. 
 
 60. Sea-tost. The early eds. have " seas tost ; " corrected by 
 Rowe. 
 
Scene I] Notes l8i 
 
 Scene I, — " The diction throughout the present scene is veri- 
 tably Shakespearian. It has that majesty of unrestrained force 
 which distinguishes his finest descriptive passages, and that dignity 
 of expression, combined with the most simple and natural pathos, 
 which characterizes his passages of deepest passion. After the 
 comparative stiffness traceable in the phraseology of the previous 
 scenes, and after the cramped and antiquated chant-speeches of 
 Gower, this opening of the 3d act always comes upon us with the 
 effect of a grand strain of music — the music of the great master 
 himself — with its rightly touched discords and its nobly exalted 
 soul-sufhcing harmonies" (Clarke). 
 
 I, ThoM, The early eds. have "The ; " corrected by Rowe. 
 
 4. CaWd. Fleay reads "recall'd," which may be right. 
 
 5. Deafening. The first three quartos have " deafning," the 
 other early eds. " d earning." Y ox gently, the reading of ist quarto, 
 the other early eds. have " dayly " or " daily," 
 
 6. AHmble, sulphurous Jiashes I Cf. Lear, ii. 4. 167 (see also iv. 
 7. 34) : " You nimble lightnings," etc. 
 
 7. Tkozc stormest venomously. The early eds. have " then storme 
 venomously," and Malone reads "Thou storm, venomously." The 
 text is due to Dyce. Clarke objects to it that it "destroys the 
 address to the storm ; " but it merely changes the form of 
 the address, and seems to me more like Shakespeare than 
 Malone's reading, which Clarke adopts. 
 
 Pericles is on the deck, Lychorida in the cabin. He goes on 
 to say that the noise of the storm drowns even the boatswain's 
 whistle ; and his thought seems to be, " How then can Lychorida 
 hear me ? " He repeats the cry more loudly, but still getting no 
 response lapses into prayer for Thaisa. 
 
 8. Spet. An obsolete spelling of spit, for which see M. of V. 
 i. 3. 113, 127, 132. Here the quartos have "speat" and the 3d 
 folio "spet," for which the 4th folio substitutes "spit," 
 
 II. Midzvife. The early eds. have "my wife;" corrected by 
 Steevens. 
 
1 82 Notes [Act III 
 
 14. Travail I The early eds. have " travails ; " corrected by 
 Dyce. S. elsewhere uses the singular. Clarke, who retains 
 "travails," compares the plural in Rich. III. iv. i. 24:, "Then 
 bring me to their sights ; " but there, as in many similar instances, 
 it is used because more than one person is referred to. 
 
 16, Conceit. Ability to conceive, ox think. Cf. 2 Hen. IV. ii. 
 4. 263: "there 's no more conceit in him than is in a mallet," etc. 
 
 19. Do not assist the storm. Cf. Temp. i. i. 15 : "You do assist 
 the storm." 
 
 26. Vie honour ivith you. Contend with you in honour. Cf. 
 iv. prol. 2)2i below. The early eds. have " vse " for vie, which was 
 suggested by Mason. Some read " use." 
 
 29. Conditions ! Qualities, disposition. Cf. M. of V. i. 2; 143, 
 etc. Here, however, it may be = circumstances (of her life). 
 
 30. Welcome. Changed by Malone to " welcom'd ; " but the 
 text is supported by Wilkins's novel : " Poor inch of nature ! quotha 
 he, thou art as rudely welcome to the world, as ever princess' babe 
 was," etc. " Poor inch of nature ! " seems like a bit of Shake- 
 speare somehow lost from the text. 
 
 32. Chiding. Noisy. Cf. M. N. D. iv. i. 120, A. Y. L. ii. 
 I, 7, etc. 
 
 35. Thy loss, etc. "Thou hast already lost more (by the death 
 of thy mother) than thy safe arrival at the port of life can counter- 
 balance, with all to boot that we can give thee " (Steevens). Quit 
 = requite ; as often. 
 
 39. Flaw. Gust, blast. Cf. Ham. v. i. 239: "the winter's 
 flaw," etc. 
 
 43. Bolins. Bowlines ; used by S. only here. We find it in 
 Two Noble Kinsmen, iv. I. 137 (Fletcher's part) : "Top the 
 bowling ; out with the mainsail ! " 
 
 45. But sea-room, etc. Cf. Te^jip. i. i. 8 : "Blow till thou 
 burst thy wind, if room enough ! " 
 
 52. Still. Ever, constantly; as very often. Cf. iii. 3. 19 
 below. 
 
Scene I] Notes 1 83 
 
 The 1st quarto (followed substantially by the other early eds.) 
 arranges the context thus : — 
 
 " I. pardon vs, sir ; with vs at Sea it hath bin still obserued. 
 And we are strong in easterne, therefore briefly yeeld'er. 
 
 Per. As you thinke meet ; for she must over board straight : 
 Most wretched Queene." 
 
 Malone was the first to read the whole as prose, and to transfer /£>?' 
 she must overboard straight to the Sailor's speech. Custom for 
 " easterne " was suggested by Boswell. Mason conjectured " ear- 
 nest," and Steevens " credence." Knight adopts Jackson's bad 
 conjecture : "And we are strong in, astern." 
 
 56. Here she lies. Here we must suppose that a curtain is drawn 
 aside, the space behind which represents the cabin below. This 
 was all that the rude appliances of the old stage permitted; the 
 spectator's imagination had to supply the rest. 
 
 61. In the ooze. The early eds. have "in oare " or "in oar;" 
 corrected by Steevens. Cf. Temp. iii. 3. 10 : "my son i' the ooze 
 is bedded." 
 
 62. For. Instead of. Cf. Rich. III. iv. 4. 99 : " For happy 
 wife a most distressed widow," etc. 
 
 63. Aye-remainiitg lamps. The ever-burning lamps of a sepul- 
 chre. Cf. Sonn. 21. 12: "Those gold candles fix'd in heaven's 
 air." The early eds. have "ayre remayning," "ayre remaining," 
 or " air remaining ; " corrected by Malone. Tyler thinks " air- 
 remaining lamps" are the stars. 
 
 64. And hwjiming water, etc. Cf. Milton, Lycidas, 157 : 
 "where thou perhaps under the humming tide," as it read in the 
 ed. of 1638 ; afterwards changed to "whelming tide." 
 
 68. Coffer. The early eds. have " coffin ; " corrected by Malone. 
 Pericles would not have carried a coffin to sea with him. The 
 ancient coffers were often lined with satin or other costly material. 
 Satin coffer may, however, as some suppose, be a chest in which 
 satins were kept. The chest mentioned just below was prob- 
 
184 Notes [Act III 
 
 ably (as Clarke suggests) intended as an outer case for the 
 coffer. " 
 
 76. Alter thy course for Tyre. That is, which is now fqr Tyre. 
 Collier conjectures " from Tyre," as in Wilkins's novel. 
 
 82. Presently. At once ; as very often. 
 
 Scene II. — 9. Pothecary. A common form of apothecary. Cf. 
 R, and J. v. 3. 289. Elsewhere (as in Id. v. i. 37, 57, v. 3. 
 119, etc.) S. has apotheca?y. 
 
 The recipe, as Malone notes, must be for the poor men already 
 mentioned, or for the servant himself. It is evident that it cannot 
 be for his master. 
 
 16. Principals. Corner-posts, main timbers; the only instance 
 of this sense in S. 
 
 17. All to topple. Some print "all-to topple," and others "all 
 to-topple ; " but the all may refer to principals, or it may be an 
 adverb used intensively, as often. 
 
 20. Husbandry. Thrift, economy (here of time). Cf. Macb. 
 ii. I. 4, etc. 
 
 22. Tire. Apparently = furniture. The early eds. except the 
 first three quartos have "attire." Steevens conjectures "such 
 towers" for rich tire. Petty is the reading of the first three 
 quartos; "pretty" in the other early eds. 
 
 26. Held. The early eds. have " hold ; " but the following were 
 favours Malone's emendation. 
 
 27. Cunning. Knowledge, wisdom. Cf. Cor. iv. i. 9, 0th. iii. 
 3. 49, etc. Pain = labour ; as in Temp. i. 2. 242, T. of S. iii. 
 I. 12, etc. 
 
 36. Vegetives. Vegetables ; used by S. only here. 
 
 37. / can. The early eds. omit /, which Malone supplied. 
 
 41. Treasure. The early eds. have " pleasures " or " pleasure ; " 
 corrected by Steevens. 
 
 42. The fool and death. Malone thought that this alludes to the 
 old moralities; but the reference is probably to the pictures of the 
 
Scene II] Notes 185 
 
 "Dance of Death." Steevens mentions an old Flemish print, in 
 which Death is represented as plundering a miser of his bags, 
 while the fool stands grinning behind. Verplanck remarks : "The 
 'Dance of Death' appears to have been anciently a popular exhibi- 
 tion. A venerable and aged clergyman informed Steevens that he 
 had once been a spectator of it. The dance consisted of Death's 
 contrivances to surprise the Merry Andrew, and of the Merry 
 Andrew's efforts to elude the stratagems of Death, by whom at last 
 he was overpowered ; his finale being attended with such circum- 
 stances as mark the exit of the Dragon of Wantley. It should 
 seem that the general idea of this serio-comic pas-de-deux had 
 been borrowed from the ancient ' Danse de Macabre,' commonly 
 called the 'Dance of Death,' v/hich appears to have been anciently 
 acted in churches, like the moralities. The subject was a frequent 
 ornament of cloisters, both here and abroad. The reader will 
 remember the beautiful series of wood-cuts of the ' Dance of 
 Death,' attributed (though erroneously) to Holbein. Douce 
 describes an exquisite set of initial letters, representing the same 
 subject ; in one of which the Fool is engaged in a very stout com- 
 bat with his adversary, and is actually buffeting him with a bladder 
 filled with peas or pebbles — an instrument used by modern Merry 
 Andrews." Cf. Longfellow, Golden Legend, where the pictures of 
 the Dance of Death on one of the ancient bridges in Lucerne are 
 described. 
 
 48. Time shall never raze. The first three quartos have " time 
 shall never." The other early eds. read "as never shall decay." 
 Malone prints " time shall never — " Staunton reads " time shall 
 ne'er decay." The text is due to Dyce. Raze is favoured by the 
 preceding built. 
 
 51. Wrack. See on ii. prol. 32 above. 
 
 55. A good constraint of fortune. A piece of good luck. 
 
 56. Bitunt'd. The early eds. have " bottomed," " bottomd," or 
 " bottom'd ; " corrected by Malone, and supported by Wilkins's 
 novel. Cf. also iii. i. 72 above. 
 
1 86 Notes [Act in 
 
 67. Apollo^ perfect me, etc. May Apollo enable me to de- 
 cipher it ! The comma is in all the eds., but perhaps it should 
 be omitted. 
 
 69. A-land. See on ii. i. 30 above. 
 
 77. Cracks. Cf. M. W. ii. 2. 301 : " my heart is ready to crack," 
 etc. See also Ham. v. 2. 370. S. often uses the word with refer- 
 ence to the heart. 
 
 84. I heard, etc. The passage is probably corrupt, as Wilkins's 
 novel makes Egyptian refer to those who recovered the apparently 
 dead : " I have read of some Egyptians, who after four houres 
 death (if a man may call it so) have raised impoverished bodies, 
 like to this, unto their former health." Malone and Steevens read 
 " I have heard," etc. 
 
 85. Lien. The reading of the first three quartos; "bene," 
 " beene," or " been " in the other early eds. 
 
 86. By good appliance recovered. The reading of all the early 
 eds. Steevens reads (omitting Who), "By good appliance was 
 recovered." Dyce has " appliances recover'd." For the singular 
 appliance, cf. A. W. ii. i. 116, Hen. VHI. i. i. 124, and Ham. iv. 
 3. 10. S. uses the plural only in 2 Hen. IV. iii. i. 29 and M.for 
 M. iii. I. 89. 
 
 87. Well said. Well done ; as often. 
 
 90. Vial. The early quartos have "violl ; " the later ones and 
 the folios "viall" or "viaL" The modern editors are divided. be- 
 tween vial and " viol." "White remarks : " Cerimon's call for 
 music might lead us to suppose that we should read viol, were it 
 not that he has but just issued the order, and so would not say * the 
 viol once more^ " It might be replied that once more is perhaps = 
 / say once more. Clarke puts the case for vial better, I think : 
 " It is more likely that he should be eager to have some pungent 
 essence for Thaisa to inhale, than that he should name some special 
 instrument when desiring that music shall play. It appears to us 
 that the call for music is made and renewed ; while the demand 
 for the vial is parenthetical." 
 
Scene III] Notes 1 87 
 
 93. Awakes, etc. The 1st quarto has " awakes a warmth breath; " 
 the other early eds. " awakes a warme breath." The correction is 
 due to Steevens. 
 
 95. Gins. Often printed " 'gins," but incorrectly. 
 
 99. Cases. Cf. JV. T. v. 2. 14 and Lear, iv. 6. 147. 
 
 103. Do. The early eds. have " doth ; " corrected, perhaps 
 unnecessarily, by Malone. Abbott {Grammar, 334) calls it "the 
 third person plural in -^^." 
 
 106. Where a?n I ? Cf. p. 146 above. 
 
 no. Mortal. Fatal. Cf. v. i. 36 below. 
 
 Scene III. — 3. Litigious. The word is found only in the first 
 three quartos. 
 
 6, Shafts. The early eds. have " shakes," and for htiri " hant," 
 " haunt," or " hate ; " corrected by Steevens. 
 
 7. Wanderingly. The early eds. have "wondringly; " also cor- 
 rected by Steevens. Mr. Kinnear {Cruces Shakspeariance^ sug- 
 gests " wonderingly," which is very plausible. 
 
 19. Still. Constantly; as in iii. i. 52 above. All the early eds. 
 except the ist quarto have "dayly" or "daily.'' 
 
 20. Neglection. The reading of the first three quartos ; " neg- 
 lect" in the other early eds. Cf. T. and C. i. 3. 127: "neglection 
 of degree." 
 
 29. Unscissar^ d shall this hair, etc. The early eds. have " un- 
 sistered shall this heyre " (" his heyres " in the 5th quarto) ; cor- 
 rected by Steevens, and confirmed by Wilkins's novel. S. uses the 
 word only here ; scissar as a verb not at all ; and scissars (so spelt) 
 only in C. of E. v. i. 175, where the reference is to cutting hair. 
 
 30. ///. The early eds. have "will." The correction, accord- 
 ing to the Cambridge ed., was suggested by Malone, and adopted 
 by Singer (2d ed.) ; but Dyce says : " The reading show ill is 
 mine, and has been adopted by Mr. Collier in his 2d edition, by 
 Mr. Staunton, by Mr. Grant White, and by the Cambridge editors 
 (Globe ed.)." It is also in their Cambridge ed. 
 
1 88 Notes [Act IV 
 
 36. Alask-d. " Masking its dangers with calm " (Verplanck) ; 
 "hiding his cruel nature" (Schmidt). "Moist" and "vast" have 
 been suggested. Verplanck considers niask''d " singularly .Shake- 
 spearian in manner." 
 
 Scene IV. — 2. Coffer. I suspect, as Dyce says he does, that 
 this should be " coffin." 
 
 3. Charade}' ? Handwriting. Cf. Cymb. iii. 2. 28, W. T. v. 2. 
 38, etc. 
 
 6, Eaning time. Time of delivery. Cf. AI. of V. i. 3. %%: 
 " Who then conceiving did in eaning time," etc. The quartos 
 have "learning time." 
 
 14. Your date. Your appointed term of life. 
 
 17. That ''s all. Fleay reads " and that is all." 
 
 ACT IV 
 
 Gower's Prologue. — 8. Music, letters. The early eds. have 
 " musicks letters ; " corrected by Malone. 
 
 10. Her . . . heart. The early eds. have " hie " (or " high ") 
 o . . " art ; " corrected by Steevens. 
 
 12. Wrack. See on ii. prol. 32 above. 
 
 14. Seeks. The early eds. have " Seeke " or " Seek ; " corrected 
 by Rowe. 
 
 15, 16. The early eds. have "our Cleon hath" and "a full 
 growne wench ; " corrected by Steevens. Hudson reads: — 
 
 " Seeks to take off by treason's knife, 
 And in his kind. Cleon doth own 
 One daughter, and a wench full-grown," etc. 
 
 His here is taken to refer to envy. " Cleon doth own " was sug- 
 gested by Mr. P. A. Daniel. 
 
 17. Rite. The early eds. have "sight;" corrected by Collier. 
 
Prologue] Notes 189 
 
 Percy had conjectured "rites." Malone reads "fight" (suggested 
 by Steevens, who also proposed " night "). They think " marriage 
 fight" may mean "Cupid's wars" or "the combats of Venus;" 
 but, as Dyce says, if it meant anything it would be " matrimonial 
 quarrels." Knight (2d ed.) has "right for marriage rite;" the 
 "right" being from the ist quarto. 
 
 18. Hight. Is named. The word is used by S. only as " a char- 
 acteristic archaism" (Schmidt). Cf. Z, Z. Z. i. i. 171, 258, and 
 M. N. Z>. V. I. 140. 
 
 19. She. The early eds. have " they ; " corrected by Malone. 
 21. Sleided. Untwisted or unwrought. Cf. Z. C. 48: "with 
 
 sleided silk," etc. 
 
 23. Needle. Malone reads "neeld," an old form often substi- 
 tuted for needle by modern editors when the word is monosyllabic. 
 Here the folios have needle^ the quartos " neele." Cf. v. prol. 5 
 below. In Gammer Gurton, it rhymes W\\}x feele, Steele, weele. 
 
 26. Night-bird. The nightingale. The early eds. have " night 
 bed ; " corrected by Malone. 
 
 27. Records. Sings ; again used of the nightingale in T. G. of 
 V. V. 4. 6. 
 
 29. Vail, Bow, do homage. See on ii. 3. 42 above. Pen — 
 odes or songs (in praise of Diana). 
 
 31. Absolute. Faultless, perfect. Cf. Ha7n. v. 2. ill: "an ab- 
 solute gentleman," etc. 
 
 32. With the dove, etc. The early eds. have "The Doue of 
 Paphos might with the crow." The transposition was suggested 
 by Mason. For Paphos as sacred to Venus, cf. Temp. iv. i. 93 and 
 
 V. and A. 1 193. 
 y^. Vie„ Compete in. Cf. iii. i, 26 above. 
 41. Stead, See on iii. prol. 21 above. 
 
 44. Pregnant, Ready, apt. Cf. Lear, iv. 6. 227, 7". and C. iv. 
 4. 90, etc. 
 
 45. Prest. Prompt, ready. Cf. M. of V.i. 1. 160-. "I am prest 
 unto it." 
 
190 Notes [Act IV 
 
 46. / do commend to yotir content. " I trust will prove to your 
 satisfaction " (Clarke) ; referring to the audience in the theatre. 
 
 47. Carry. The early eds. all have " carried ; " corrected by 
 Steevens. 
 
 51. Does. The reading of the 1st quarto; "doth" in the other 
 early eds. 
 
 Scene I. — 5. Inflaming love e' thy bosom. The ist quarto 
 reads : " in flaming, thy loue bosome ; " which is followed sub- 
 stantially by the other early eds. ("inflaming" in folios). Malone 
 reads " inflame love in thy bosom ; " Singer, " inflaming love, thy 
 bosom ; " and Hudson, " cold, enforcing law, thy bosom." Col- 
 lier conjectures "infusing love in thy bosom." The text is due to 
 Knight and is adopted by the Cambridge editors, Dyce, Clarke, 
 and White. It is on the whole the least unsatisfactory of the 
 attempts to mend a hopelessly corrupt passage. Hudson sees an 
 inconsistency in speaking of a cold conscience as injlaming love ; 
 but, as Clarke notes, Dionyza is urging him to let it remain cold, 
 or "lie dead, and not let it kindle into sparks of compunction." 
 
 6. Inflame too nicely. Malone conjectured that these words 
 should be omitted. Collier changes Inflame to " Inform." Nicely 
 = scrupulously, or squeamishly. 
 
 8. Be a soldier. Ci. Cymb. ii. 4. 186: — 
 
 " this attempt 
 I am soldier to, and will abide it with 
 A prince's courage." 
 
 II. Her old nurse's death. The early eds. have " onely Mistresse 
 death," with slight orthographical variations. I'he text is the con- 
 jecture of Percy. White reads " her only nurse's death." 
 
 14. Tellus. Cf. Ham. iii. 2. 166: "Tellus' orbed ground." 
 Weed = garment, dress; as in M. N. D. ii. i. 256, ii. 2. 71, etc. 
 Fleay fills out the measure by reading " rob robed [rob'd] Tellus." 
 
 17. Carpet. Steevens's conjecture of "chaplet" is plausible, 
 
Scene I] Notes 191 
 
 but carpets were often used as table covers, drapery, etc. Cf. T. 
 of S. iv. I. 52. Knight remarks: " It is evident that the poet was 
 thinking of the green mound that marks the last resting-place of 
 the humble, and not of the sculptured tomb to be adorned with 
 wreaths. Upon the grassy grave Marina will hang a carpet of 
 flowers — she will strew flowers, she has before said. The carpet 
 of Shakespeare's time was a piece of tapestry, or embroidery, spread 
 upon tables ; and the real flowers with which Marina will cover 
 the grave of her friend might have been, in her imagination, so 
 intertwined as to resemble a carpet, usually bright with the flowers 
 of the needle." 
 
 18. Ay vie. Changed by Malone, Hudson, and others to 
 " Ah me," which S. never uses. The single apparent exception in 
 R. and J, v. I. lo is probably a misprint. 
 
 23-30. Here, as in many other passages of the plaj--, the lines of 
 the early eds. have been variously rearranged by the modern edi- 
 tors ; but I have not thought it necessary to record the variations. 
 I adopt here the arrangement of the Cambridge editors in the 
 Globe ed. (in the Cambridge ed. they follow the early eds.). 
 
 23. Do not Consume your blood, etc. Alluding to the old notion 
 that each sigh took a drop of blood from the heart. Cf. M. N. D. 
 iii. 2. 97, Much Ado, iii. i. 78, Ham. iv. 7. 123, etc. 
 
 25. Of me. In me. Favour — countenance, aspect ; as often. 
 Cf. well favoured in 86 below. 
 
 27. Ere the sea mar them. The early eds. have "it" for them, 
 which is due to Knight, Hudson reads "Give me your flowers : 
 on the sea-margent walk," etc. Fleay would read and arrange 
 thus : — 
 
 " Come, go you on the beach, give me your flowers. 
 Ere the sea mar it, walk with Leonine." 
 
 28. Quick. Fresh, bracing. 
 
 36. Paragon to all reports. " Whose beauty was once equal to 
 all fame said of it" (Malone). 
 
 40. Reserve. Save, guard. Walker conjectures " preserve ; " 
 
192 Notes [Act IV 
 
 "but S, uses reserve in that sense in Sonn. 32. 7, Cynih, i. 4. 143, iv. 
 
 4. 49, etc. 
 
 41. 6'^'i?«/ The eyes. Cf. Sonn. 20. 8 : " steals men's eyes." 
 
 52. 77^^' wind zuas north. Cf. iii. prol. 47. 
 
 55. Haling ropes. Malone reads " with hauling of the ropes." 
 
 62. A canvas-climber. " One who climbs the mast to furl or un- 
 furl the canvas, or sails " (Steevens) . 
 
 63. Dropping. Collier conjectures " dripping," to which the 
 word is equivalent, 
 
 64. Slem to stern. The quartos have " sterne to sterne," and the 
 folios " stern to stern ; " corrected by Malone. 
 
 77. La. The first three quartos have " law," the other early 
 eds. " now ; " corrected by Malone. For the use of la to empha- 
 size a statement, cf. Cor. i. 3. 73, 100, etc. 
 
 97. Valdes. Malone suggests that the Spanish Armada furnished 
 
 5. with this name. Don Pedro de Valdes was an admiral in that 
 fleet, and was talcen by Sir Francis Drake. Giving the name to a 
 pirate would be likely to " take " with an audience of that day. 
 
 Scene II. — This scene, the nastiness of which I have much 
 abridged, could not have been written by S. See p. 22 above. 
 
 7. Chequins. The early eds. have " checkins," " chickins," 
 " chickeens," or " chickens ; " corrected by Malone. The chequin 
 (Italian zecchino') was a gold coin cf Venice, worth about two dol- 
 lars in our money. 
 
 Were as pretty a proportion, etc. " Would be as pretty a com- 
 petence as need be to live quietly with, and so give over our pres- 
 ent occupation " (Clarke) . 
 
 12. Wages not with. Does not equal. Cf. A. and C.v. i. 31 : 
 " His taints and honours Wag'd equal with him." 
 
 14. Keep our door hatched. That is, closed against customers 
 by means of the half-door or hatch; for which see K. John, i. i. 171, 
 V. 2. 138, Lear, iii. 6. 76, etc. 
 
 25. / have gone through, etc. " I have bid a high price for her, 
 
Scene III] Notes 193 
 
 gone far in my attempt to purchase her" (Steevens). Malone 
 changes through to " thorough ; " but the meaning would be the 
 same with either word. Cf. iv. 3. 35 below, 
 
 26. My earnest. That is, the money given to close the bargain. 
 33. / cannot be bated, etc. Malone plausibly conjectures that it 
 
 is the Pirate who says this. If it belongs to Boult, it must mean, 
 " I cannot get them to bate," etc. Dyce suggests that / should be 
 "It." For doit (the smallest of coins), cf. M. of V. i. 3. 141, Cor. 
 i. 5. 7, etc. 
 
 46. Fault. Misfortune. Cf. M. W. i. i. 95. Collier conjectures 
 " The worse my fate." 
 
 55. An honest woman, or not a woman. Knight agrees with 
 Horn that this must be Shakespeare's ; but it does not strike me 
 as being of such exceptional character. Touches of equal " poetical 
 profundity " are by no means rare in contemporary dramatists. 
 
 Scene III. — 11. If thou hadst drunk to him, etc. That i§, if 
 you had poisoned yourself in pledging him. 
 
 12. Fact. Deed. Some make it = "crime," the only meaning 
 of the word recognized in S. by Schmidt ; but in most instances 
 it may have its familiar sense. The word here was suggested by 
 Dyce in place of the " face " of the early eds. Mason conjectures 
 "feat." 
 
 1 7. Pious. The early quartos have " impious," the other early 
 eds. omit the word. Mason's conjecture of pious is confirmed by 
 Wilkins's novel. 
 
 18. For an honest attribute. For the sake of an honest reputa- 
 tion, or of being accounted honest. 
 
 24. Strain. Stock, race. Cf. f. C. v. i. 59 : "the noblest of 
 thy strain," etc. 
 
 27. Prime consent. The early quartos have " prince consent," 
 the other early eds. " whole consent ; " corrected by Dyce. 
 Steevens conjectures " pre-consent." 
 
 28. Sources. The early eds. have " courses ; " corrected by Dyce. 
 
 PERICLES — 13 
 
1 94 Notes [Act IV 
 
 30. Can know. Walker conjectures " can now know ; " but the 
 measure is probably to be filled out by modifying the pronunciation 
 of Leonine. Proper names are often contracted for the sake of the 
 metre, and occasionally lengthened. 
 
 31. Distain. Cf. T. and C. i. 3. 241 : " distains his worth," 
 etc. The early eds. have " disdaine " or " disdain," which Clarke 
 retains, making it = cause to be disdained. Distain was the con- 
 jecture of Steevens, though Singer was the first to adopt it. He 
 has been followed by most of the more recent editors. 
 
 34. Blurted at. Treated scornfully. Malone quotes Edw. III. : 
 " And all the world will blurt and scorn at us." S. uses the word 
 only here. 
 
 Malkin. "A coarse wench" (Steevens). Cf. Cor.'ix. 1.224; 
 the only other instance of the word in S. The old spelling " maw- 
 kin" indicates the common pronunciation. 
 
 35. Thorough, Used by S. interchangeably with through. 
 
 38. // greets me. It gratifies me. Clarke takes it to be = it 
 comes before me, it seems to me. Malone suspects that the passage 
 is corrupt. 
 
 46. Thou ai't like the harpy, etc. The sense is clear, though the 
 construction is confused, as in many other passages in S. Malone 
 changes zvith to " wear." Hudson alters the passage thus : — 
 
 " Which, to betray, doth use an angel's face. 
 Then seize with eagle's talons." 
 
 48. Talons. All the early eds. spell it " talents," as elsewhere 
 in S. Cf, L. L. L. iv. 2. 65, where there is a play on talon and 
 talent. 
 
 49. You are like one, etc. " You are so affectedly humane that 
 you would appeal to heaven against the cruelty of winter in killing 
 the flies" (Boswell). Clarke thinks it means : " You are like one 
 that with overscrupulous and superfluous explicitness assures the 
 gods that winter kills the flies ; " but this does not seem to me 
 so natural or so forcible a retort as the other interpretation gives. 
 
Scene IV] Notes 195 
 
 Cleon has said, " You are treacherously cruel ; " Dionyza replies, 
 " You are superstitiously humane." 
 
 Verplanck remarks : " Throughout this whole scene, slight and 
 sketchy as it is, the reader cannot but be strongly reminded of 
 Macbeth and his wife. Cleon's ' infirmity of purpose,' shocked at 
 the crime, and willing to give ' the spacious world to undo the deed,' 
 while he immediately yields to his wife's energy of guilty will, and 
 follows out her leading, is in the same spirit with Macbeth's — 
 
 ' I am afraid to think what I have done ; 
 Look on 't again I dare not,' etc. 
 
 The stern, sustained resolution of Lady Macbeth, her complaint for 
 her husband's scruples, as — 
 
 ' What beast was 't, then, 
 That made you break this enterprise to me ? ' — 
 and her — 
 
 ' things without remedy 
 Should be without regard,' — 
 
 are, when compared with Dionyza's cool reply, * that she 's dead,' 
 
 and her — 
 
 ' I do shame 
 
 To think of what a noble strain you are, 
 
 And what a coward spirit,' — 
 
 like the finished work of some great painter by the side of the first 
 rough, spirited outline, in which he had embodied his conceptions." 
 
 Scene IV. — 2. Cockles. Malone sees here an allusion to the 
 stories of witches sailing in a cockle or mussel shell. 
 
 Have an wish but for V. Have, if we but wish for it ; we have 
 but to wish and have it. 
 
 3. Making. Used in the familiar nautical sense of sailing, going. 
 Cf. V. I. 19 below. Take — captivate. Y ox your the old eds. have 
 " our ; " corrected by Malone. 
 
 8. Stand V the. The early eds. have " stand with " or " stand 
 in ; " corrected by Steevens. 
 
196 Notes [Act IV 
 
 13-16. The 1st quarto, followed substantially by the other early 
 eds., disarranges the passage thus : — 
 
 " Old Helicanus goes along behind, 
 Is left to gouerne it, you beare in mind. 
 Old Escenes, whom Helicanus late 
 Aduancde in time to great and hie estate." 
 
 Mr. P. A. Daniel would retain the text of the 1st quarto, pointing 
 
 it thus : — 
 
 " Old Helicanus goes along. Behind 
 Is left to govern it, you bear in mind, 
 Old Escanes, whom Helicanus late 
 Advanc'd in time to great and high estate." 
 
 He adds that " one minute's study of the original will convince the 
 reader that Steevens's corruption and topsy-turvy arrangement must 
 forthwith be expunged." Possibly he is right. His pointing makes 
 sense of the passage, and the arrangement is not clumsier than in 
 some other parts of these choruses. The arrangement in the text 
 was proposed by Steevens. In 16 Walker conjectures "Good" 
 for Old. 
 
 18. His pilot. The early eds. have " this Pilot" or " this Pilate ; " 
 corrected by Malone. Clarke retains " this," explaining thus : " Let 
 your imagination conceive this thought that I suggest to you ; and 
 which, like a pilot, shall conduct and accompany Pericles on his 
 sea-voyage." The meaning of the passage as I give it is : *' Sup- 
 pose that your imagination is his pilot" (Malone). 
 
 19. Grow on. The early eds. have "grone;" corrected by 
 Malone. Steerage = steering ; as in R. and J. i. 4. 112. S. uses 
 the word only there. 
 
 24. Passion. Grief, sorrow (as in stage-direction just above). 
 Cf. Ham. ii. 2. 541, 587, iv. 5. 188, etc. 
 
 30. His mortal vessel. His body. Cf. A. and C v. 2. 51 : " this 
 mortal house I '11 ruin." See also 0th. iv. 2. ?>2, : " to preserve this 
 vessel for my lord," etc. For "the weaker vessel" (= woman), 
 see I Peter, iii. 7; quoted by S. four times (^A. Y. L. ii. 4. 6, etc.). 
 
Scene VI] Notes 197 
 
 31. Wit. Know, understand. Cf. "to wit " {M. of V. ii. 9. 90, 
 etc.), which we still use as = namely. 
 
 The reading of 31-33 is that of the first three quartos. The 
 other early eds. have : — 
 
 " Now take we our way 
 To the Epitaph for Marina, writ by Dionizia." 
 
 36. Tyrus. Tyre ; as in iii. prol. 26, etc. 
 
 39. Thetis^ being proud, etc. For Thetis as an impersonation of 
 the sea, cf. T. and C. i. 3. 39 : — 
 
 " But let the ruffian Boreas once enrage 
 The gentle Thetis," etc. 
 
 "The poet ascribes the swelling of the sea to the pride which 
 Thetis felt at the birth of Marina in her element ; and supposes 
 that the earth, being afraid to be overflowed, bestowed this birth- 
 child of Thetis on the heavens ; and that Thetis, in revenge, makes 
 raging battery against the shores" (Mason). 
 
 48. Scene. The early eds. have " Steare," " stteare," or " stear ; " 
 corrected by Malone. Steevens reads " scenes display." 
 
 Scene V. — 7. Shall h. Shall us ; a colloquialism, for which 
 cf. W. T. i. 2. 178, Cor. iv. 6. 148, etc. Here it is the reading of 
 the early quartos, changed to " shall we " in the other old eds. 
 
 Scene VI. — 3. Has me. The me is the expletive or " ethical 
 dative." 
 
 5. That. So that ; as in v. prol. 7 below. 
 
 6. Cheapen. Offer to buy. Cf. Mtuh Ado, ii. 3. t^t^ : " or I '11 
 never cheapen her ; " the only instance of the word in S. 
 
 8. Lown. Base fellow ;' as in 0th. ii. 3. 95 : " With that he 
 call'd the tailor lown." S. uses it only there, 
 
 10. How a, etc. How go a, or how sell a, etc. Cf. 2 Hen. IV. 
 iii. 2. 42 : " How a good yoke of bullocks at Stamford Fair ? " 
 
 12. To-bless. The editors generally follow Tyrwhitt in consider- 
 ing this an instance of the intensive particle to. See on iii. 2. 17 
 above. 
 
198 Notes [Act V 
 
 16. Iniquity. The reading of the early quartos ; "impurity" in 
 the other old eds. The Cambridge ed. follows the quartos in mak- 
 ing iniquity the object of have. The inversion is awkward, and I 
 prefer Malone's pointing. 
 
 21. For flesh and blood, etc. The early eds. give this to Boult, 
 but White is clearly right in transferring it to the Bawd. The mis- 
 take probably arose, as he suggested, from using B. as the abbre- 
 viation of both Bawd and Boult in the MS. 
 
 63. Persever. The regular form of the word in S. Clear = 
 pure, virtuous. 
 
 65. Thoughten. Thinking. Yox\ht,ioxvix,ci.foMghten\x\.Hen.V. 
 iv. 6. 18. For the active use, cf. nioulteji = moulting in i Hen. IV. 
 iii. I. 152, etc. We still use "well behaved," "well-read," etc. 
 
 68. A piece of virtue. Cf. Temp. i. 2. 56 : "Thy mother was a 
 piece of virtue ; " and A. and C. iii. 2. 28 : — 
 
 " the piece of virtue which is set 
 Betwixt us as the cement of our love." 
 
 93. Receptacles. Accented on the first syllable ; as in R. and 
 J. iv. 3. 39, etc. For seivers the old eds. have " shores " (an obso- 
 lete synonym of sewer^, which some retain. 
 
 95. Yet better. Malone reads " better yet." 
 
 97. Would own a name too dear. Would think his name dis- 
 honoured. 
 
 ACT V 
 
 Gower's Prologue. — 5. Du77ibs. Cf. A. and C. i. 5. 50 : " Was 
 beastly dumb'd by him." S. has the verb only there. 
 
 For needle the early quartos have " neele," and Malone prints 
 " neeld." See on iv. prol. 23 above. 
 
 7. That. So that ; as in 9 just below. Cf. iv. 6. 5 above. 
 
 8. Inkle. The word means tape (cf. W. T. iv. 4. 208), but here 
 it must be either a very narrow tape or some kind of thread used 
 
Scene I] Notes 199 
 
 in embroidery. For twin the early eds. have " twine ; " corrected 
 by Malone. 
 
 13. On the sea, etc. The early quartos have "on the sea, wee 
 there him left ; " the other early eds. " at sea, tmnbled, and tost ; " 
 corrected by Malone. 
 
 14. Whence. The early eds. have " Where " or " And ; " cor- 
 rected by Steevens. 
 
 19. His, Changed by Hudson to " Her " (the conjecture of 
 Walker) ; but, as Clarke suggests, the word may refer to Pericles. 
 
 21. In your supposing, etc. Once more imagine that you see 
 the sorrowful Pericles. Some join Of heavy Pericles to what 
 follows, reading "the bark." 
 
 23. Where what is done, etc. Where all that is acted — more 
 should be shown if it were possible — shall be exhibited. 
 
 Scene I. — i. Resolve. Inform. See on ii. 5. 68 above. For 
 Helicanus Walker conjectures " Helicane." 
 
 10. Greet them. The early quartos have "greet him," which the 
 Cambridge editors and Clarke retain ; but the use of some in the 
 singular would be anomalous. 
 
 15. Sir. Omitted in the early eds. and supplied by Malone. 
 19. Made. Cf. iv. 4. 3 above. 
 
 26. Prorogue. The reading of the early quartos ; " prolong " in 
 the other early eds. 
 
 27. Distemperature. Disorder. Cf. C. of E. v. i. 82, R. and J. 
 ii. 3. 40, etc. It is used of the weather in M. N'. D. ii. i. 106, etc. 
 
 34. Yet let me, etc. The early quartos confuse the text thus : — 
 
 "Hell. You may, but bootlesse. Is your sight see, will not speake 
 to any, yet let me obtaine my wish. 
 
 Lys. Behold him, this was a goodly person. 
 
 Hell. Till the disaster that one mortall wight droue him to this." 
 
 The arrangement was corrected in the 4th quarto ; but " wight " 
 for night was left to be rectified by Malone. 
 
 36. Mortal. Deadly, fatal ; as often. Cf. iii. 2. 1 10 above. 
 
200 Notes [Act V 
 
 46. Deafen'' d. The early eds. have " defend " or " defended ; " 
 corrected by Malone. 
 
 49. And with her fellow maids is. The early eds. omit wiih and 
 is, both of which Malone supplied. Upon is changed by Steevens 
 to " within," but the meaning may be " upon the leafy and sheltered 
 spot," as Clarke suggests. 
 
 51. The stage-direction is not in the early eds., but was sup- 
 plied by Malone. 
 
 52. AlPs. The early eds. have only "all;" corrected by 
 Malone. 
 
 58. God^s. The early eds. have " God ; " corrected by Dyce 
 (the conjecture of Walker). 
 
 59. Graff. Graft ; as in F. of L. 1062 : " This bastard graff 
 shall never come to growth." Cf. the verb in A. Y. L. iii, 2. 124, 
 2 Hen. IV. V. 3. 3, etc. 
 
 60. Afflict. The early eds. have " inflict," but it is pretty cer- 
 tainly one of the many misprints that disfigure them. Afflict was 
 suggested by Malone, and is adopted by many editors. 
 
 63. The stage-direction in the early eds. is simply ^^ Enter 
 MarinaP Malone remarks : " It appears that when Pericles was 
 originally performed, the theatres were furnished with no such 
 apparatus as, by any stretch of imagination, could be supposed to 
 present either a sea or a ship ; and that the audience were con- 
 tented to behold vessels sailing in and out of port in their miners 
 eye only. This license being once granted to the poet, the lord, in 
 the instance now before us, walked off the stage, and returned again 
 in a few minutes, leading in Marina without any sensible impro- 
 priety ; and the present drama exhibited before such indulgent 
 spectators was not more incommodious in the representation than 
 any other would have been." 
 
 65. Presence ? The early eds. have " present ; " corrected by 
 Malone. 
 
 67. Came of etc. Not more elliptical than many passages in the 
 play ; but Steevens reads " she came Of gentle kind," etc. 
 
Scene IJ Notes 20l 
 
 69. Fair one, all. The early eds. have " Faire on all " or " Faire 
 and all ; " corrected by Malone. Bounty is Steevens's conjecture, 
 for the " beautie " or " beauty " of the early eds. 
 
 71. Prosperous and artificial feat. " Felicitous accomplishment, 
 gracefully and skilfully performed deed" (Clarke). Y ox feat the 
 early eds. have "fate ; " corrected by Steevens (the conjecture of 
 Percy), who also reads "prosperous-artificial." Cf. M. for M. i. 2. 
 189 :-^ 
 
 " beside, she hath prosperous art 
 When she will play with reason and discourse, 
 And well she can persuade." 
 
 Herford remarks that prosperous is " proleptic, anticipating the suc- 
 cess of \kiQ feat, which is still in question." 
 
 75. Recovery. Walker conjectures "recure," which Hudson 
 adopts. 
 
 79. Marina sings. The following is Marina's song, according 
 to Twine (quoted by Steevens) : — 
 
 " Amongst the harlots foul I walk, 
 Yet harlot none am I ; 
 The rose among the thorns it grows, 
 And is not hurt thereby. 
 
 " The thief that stole me, sure I think, 
 Is slain before this time ; 
 A bawd me bought, yet am I not 
 Defil'd by fleshly crime. 
 
 " Were nothing pleasanter to me 
 Than parents mine to know; 
 I am the issue of a king, 
 My blood from kings doth flow. 
 
 " I hope that God will mend my state, 
 And send a better day : 
 T^ave off your tears, pluck up your heart. 
 And banish care away. 
 
202 Notes [Act V 
 
 " Show gladness in your countenance, 
 
 Cast up your cheerful eyes : 
 That God remains that once of nought 
 
 Created earth and skies. 
 He will not let, in care and thought, 
 You still to live, and all for nought." 
 
 Wilkins, in his novel, quotes this with the following variations : — 
 
 " The rose among the thorns doth grow." 
 
 " Nothing were pleasanter to me." 
 
 " In time the heavens may mend my state. 
 And send a better day ; 
 For sorrow adds unto our griefs, 
 But helps not any way." 
 
 The closing couplet is omitted by Wilkins. 
 
 The song is a translation of the following hexameters in the Gesta 
 Romanorum (quoted, with some corrections, by Malone) : — 
 
 " Per scorta heu ! gradior, sed scorti conscia non sura : 
 Sic spinis rosa quae nescit violarier ullis. 
 Corruit en raptor gladii ferientis ab ictu ; 
 Tradita lenoni non sum violata pudore. 
 Vulnera cessassent animi, lacrimaeque deessent, 
 Nulla ergo melior, si noscam certa parentes. 
 Unica regalis generis sum stirpe creata ; 
 Ipsa jubente Deo, laetari credo aliquando. 
 Terge modo lacrimas, curam dissolve molestam ; 
 Redde polo faciem, mentemque ad sidera tolle : 
 Nam Deus est hominum plasmator, rector, et auctor, 
 Nee sinit has lacrimas casso finire labore." 
 
 82. Hail, sir ! Here the *' Henry Irving " ed. inserts the stage- 
 direction " [ Touching Pericles ; " and at the next speech " [ Thrusts 
 her awayT Cf. loo and 126 below. 
 
 93. Awkward. Adverse. Cf. 2 Hen. VI. iii. 2. 'i'^ : " awkward 
 wind." 
 
 100. You would not do me violence. Referring to the manner 
 
Scene I] Notes 203 
 
 in which he at first repulsed her, and to which he alludes in 126 
 below. Some believe that a portion of the text has been lost here. 
 According to Twine, the king "rose up sodainly and stroke the 
 maiden," etc. See on 82 above. 
 
 103. Shores. The early eds. have " shews " or " shewes ; " cor- 
 rected by Malone (the conjecture of the Earl of Charlemont). 
 
 106. I am great with zuoe, etc. Malone compares I^ich. II. ii. 2. 
 62 fol. 
 
 112. Who starves, etc. Cf. A. and C. ii. 2. 241 : — 
 
 " other women cloy 
 The appetites they feed, but she makes hungry 
 Where most she satisfies." 
 
 117. Owe? Own, possess; as very often. The meaning is: 
 " These endowments, however valuable in themselves, are height- 
 ened by being in your possession ; they acquire additional grace 
 from their owner" (Steevens). 
 
 121. Palace. The early eds. have " Pallas ; " corrected by Ma- 
 lone. 
 
 126. Say. The early eds. have "stay; " corrected by Malone. 
 When I did push thee back; that is, as he says, when he first saw 
 her. See on 82 above. 
 
 132. Open'd. Fleay adds "justly" (from 88 above). 
 
 135. Thousandth. Malone's correction of the "thousand" of 
 the early eds. 
 
 138. like Patiettce, etc. Cf. T. A^. ii. 4. 117 : — 
 
 " She sat like Patience on a monument, 
 Smiling at grief." 
 
 Smiling Extremity out of act. "By her beauty and patient 
 meekness disarming calamity" (Malone). For extremity = \he: 
 utmost of suffering, cf. lear, v. 3. 207 : " And top extremity." 
 
 140. How lost thou them ? Thy nafne, etc. The early eds. have 
 " How lost thou thy name," etc. ; corrected by Malone. 
 
 155. No motion? "That is, no puppet dressed up to deceive 
 
204 Notes [Act V 
 
 me?" (Steevens). Cf. T. G. of V. ii. i. lOO: "O excellent mo- 
 tion ! O exceeding puppet ! " It also means a puppet-show ; as 
 in W. T. iv. 3. 103 : " a motion of the Prodigal Son." No, omitted 
 in the early eds., was supplied by Steevens. Knight adopts the 
 
 conjecture of Mason : — 
 
 " and are no fairy-motion? 
 Well, speak on," etc. 
 
 Dyce takes " Motion ! " to be the exclamation of Pericles after feel- 
 ing of Marina's pulse. White conjectures that the " Motion " of the 
 early eds. is a stage-direction that has got into the text. 
 
 157. For. Because. Cf. ii. i. 71 above. 
 
 161. Delivered. Related. Cf. 169 just below. 
 
 167. You HI scarce believe me. The early eds. have "You scorn, 
 believe me ; " which the Cambridge editors and White retain, v/ith 
 a colon after " scorn." Staunton reads " You scorn to believe me." 
 The text is Malone's, and is adopted by Dyce and Hudson. 
 
 174. Who having drawn to do V. Clarke conjectures "he being 
 drawn " (cf. Te?np. ii. i. 308, etc.) ; but " who being drawn " would 
 be better, I think, if any change is made for the sake of the metre. 
 Steevens omitted to do '/, leaving the rest of the line as it is. 
 
 188. Would never. The early eds. have " never would ; " cor- 
 rected by Steevens. 
 
 207, 208. Thou hast been, etc. The ist quarto, followed sub- 
 stantially by the other early eds., reads : — 
 
 " Thou hast beene God-like perfit, the heir of kingdomes. 
 And an other like to Pericles thy father." 
 
 The passage is probably mutilated, and many attempts have been 
 made to restore it. A page and a half of the Cambridge ed. is 
 devoted to recording them. The most plausible is Mason's : — 
 
 " thou 'rt heir of kingdoms, 
 And another life to Pericles thy father ; " 
 
 which I adopt with the modification in the arrangement of the 
 
Scene I] Notes 205 
 
 lines made by Dyce and others. Cf. what Pericles has said in 196 
 just above. Malone (ed. 1790) reads : — 
 
 " (as in the rest you said 
 Thou hast been godhke-perfect) the heir of kingdoms, 
 And a mother Uke to Pericles thy father ; " 
 
 making heir refer to queen. Singer (2d ed.) has 
 
 " the heir of kingdoms, 
 And another hfe to Pericles thy father." 
 
 Collier follows this, except that he has " thou heir ; " and Staunton 
 also, except that he prints " another-life." 
 
 216. As she should have been. That is, according to report. 
 
 223. / am wild in my beholding. Schmidt makes this = " I 
 look wild ; " but Mr. Rounds more plausibly = " I behold wildly, 
 my eyes are dazzled with giddiness." 
 
 226. Doubt. The early eds. have " doat " or " dote ; " corrected 
 by Malone. 
 
 230. The music of the spheres! Cf. T. N. iii. i. 121 : "Than 
 music from the spheres," etc. 
 
 232. Mtisic, my lord? etc. The early quartos have " Lys. Mu- 
 si eke my Lord? I heare." The later ones point it thus : " Musicke 
 my Lord, I heare." (except that the 6th has an interrogation mark 
 instead of the period) ; and the folios thus : " Musick, my Lord, I 
 hear." Malone and Clarke read "Music? My lord, I hear — " 
 Dyce suggested that Music should be printed as a stage-direction, 
 and in this he has been followed by Staunton, White, and Delius. 
 The arrangement of the passage in the text was suggested by the 
 Cambridge editors, who remark : "No music is mentioned in Wil- 
 kins's novel, and any music of earth would be likely to jar with that 
 ' music of the spheres ' which was already lulling Pericles to sleep." 
 
 234. Nips. A suspicious word, for which Collier proposes 
 "raps" (= enraptures, transports), as in Cymb. i. 6. 51, etc. 
 
 236. A pillow, e.tc. Singer gives this speech to Marina (Malone's 
 conjecture) ; but, as Clarke remarks, " the tone of direction and 
 
2o6 Notes [Act V 
 
 command is more suitable to the governor of Mytilene than to the 
 young girl Marina, princess though she be ; and the unassured 
 conviction implied in ' If this but answer to my just belief,' rather 
 befits the admirer of Marina than Marina herself, who is thoroughly 
 aware that she is none other than Pericles' own daughter." 
 
 240. Diana appears, etc. Most editors begin a new scene here ; 
 but the Cambridge ed. follows Dyce in continuing the scene. 
 
 Fleay says that he regards this little episode of Diana as no more 
 Shakespeare's work than the vision in Cymbeline, and I am inclined 
 to agree with him. 
 
 246. Life. The early eds. have " like ; " corrected by Malone 
 (the conjecture of the Earl of Charlemont). 
 
 247. Or perform. Malone omits Or. 
 
 248. Do it, and happy. That is, thou livest happy. The early 
 eds. have " doo't " or " do't," and Malone reads " Do't, and be 
 happy." 
 
 250. Argentine. " Silver-shining " (i?. of L. 786) ; used by S. 
 (if it is his) only here. Malone quotes Lord Charlemont's remark 
 that "in the chemical phrase, a language well understood when 
 this play was written, Luna or Diana means silver, as Sol does 
 gold ; " but silver had been associated with Diana and the moon 
 long before the days of the alchemists. 
 
 255. Blown. "Swollen" (Steevens). Cf. Cor. v. 4. 50: "the 
 blown tide," etc. 
 
 261. Suit. The early eds. have " sleight ;" corrected by Malone. 
 
 Scene II. — Those who begin a new scene at the appearance 
 of Diana (line 240 of preceding scene) continue it through this 
 speech of Gower's. Dyce includes the speech in scene i. 
 
 2. Dumb. The early eds. have " dum," except the 4th folio, 
 which gives " dun." Rowe reads " done." 
 
 3. My last boon. Malone reads " as my last boon " (the con- 
 jecture of Steevens). Dyce suggests "deign to give," and Staun- 
 ton "freely give." Hudson reads "pray you, give." 
 
Scene III] Notes 207 
 
 12. He had done. That is, Pericles had done. 
 
 14. Confoiitid. Consume ; as in i Hen. IV. i. 3. loo : " He 
 did confound the best part of an hour," etc. 
 
 20. Fancies'. The early eds. have " fancies ; " and Rowe reads 
 " fancy's." For " doom " (the early reading) Steevens, followed 
 by some recent editors, has " boon ; " but the rhyme of sooti and 
 doom is no worse than run and dumb in i and 2 above and many 
 others in these Gower prologues. In iii. prol. 31, 32, we have 
 moons and dooms. Thankful doom = thankworthy judgment or 
 decree. 
 
 Scene III. — Malone compares this scene with that of Hermi- 
 one's discovery {^W. T. v. 3), especially lines 120-155 with lines 
 44-84 here. 
 
 6. Who. All the early eds. except the 4th folio have " whom." 
 
 8. Who. Malone reads "whom; " as in 57 below. See on i. 
 4. 34 above. 
 
 13. Favour I Face, looks ; as in iv. i. 25 above. 
 
 15. Nun? The early quartos have "mum," the other old eds. 
 "woman." Nun is the reading of Collier. According to the 
 Cambridge ed. it is also given by a MS. corrector in Capell's copy 
 of the 1st quarto. It is confirmed by Wilkins's novel. 
 
 22, In blustering morn. The reading of the early eds., for 
 which Malone suggests " one." 
 
 24. There. The reading of the early quartos ; " these " in the 
 other old eds. 
 
 36. Drowned. That is, sunk and lost in the water. Cf. Temp. 
 V. I. 57 : " I '11 drown my book," etc. 
 
 2^^. Parted. Parted from, left; as in Rich. II, iii. i. 3: "your 
 souls must part your bodies." 
 
 41. You shall do well, etc. Malone compares 0th. ii. i. 191 : — 
 
 "If it were now to die, 
 'T were now to be most happy ; " 
 
2o8 Notes [Act V 
 
 and W. T. iv. 4. 472 : — 
 
 " If I might die within this hour, I have liv'd 
 To die when I desire." 
 
 43. Be buried, etc. Cf. W. T. iv. 4. 132: — 
 
 " not to be buried, 
 But quick and in my arms." 
 
 48. For. Because. Cf. v. i. 157 above. Yielded =hoxn. Cf. 
 Cyjnb. ii. i. 58. 
 
 57. Who. Malone reads "whom." Cf. 8 above. 
 
 59. This 7nan. Dyce and Hudson adopt Walker's plausible 
 conjecture, "this is the man." 
 
 61. Resolve. Satisfy, inform ; as in v. I. 13 above. 
 
 63. Deliver. State, tell. See on v, i. 161 above. 
 
 73. This ornament. Cf. Much Ado, iii. 2. 45 : " The old orna- 
 ment of his cheek hath already stuffed tennis-balls." Here the 
 word seems strange unless Pericles, now recovering his senses, 
 speaks ironically. 
 
 74. Makes. The reading of the early quartos ; " that makes " 
 in the other old eds. and in some modern ones. The speech is 
 evidently corrupt. 
 
 79o Make a star of him ! Honour him with a place among the 
 stars. Cf. R. and J. iii. 2. 22 : — 
 
 " when he shall die, 
 Take him and cut him out in little stars ; " 
 
 Cymb. V. 5. 352 : — ■ 
 
 "for they are worthy 
 To inlay heaven with stars." 
 
 and I Hen. VI. i. i. 55 : — 
 
 " A far more glorious star thy soul will make 
 Than Julius Caesar or bright — " 
 
 %f^. Preserved. The early eds. have " preferd " or " preferred ; " 
 corrected by Malone. 
 
Scene III] Notes 209 
 
 96. And konoicr^d. The folio reading; "the" for and in the 
 quartos. 
 
 97. City. Of course = citizens, as Malone takes the trouble to 
 inform us ; but perhaps only to explain the plural verb. 
 
 98. That. So that. Cf. iv. 6. 4 above. 
 
 100. Punish them. The early eds. omit them^ which Malone 
 supplied. Hudson reads " punish crime." 
 
 PERICLES — 14 
 
APPENDIX 
 
 The " Collaboration " Theory of the Play 
 
 In the Introduction (p. 15) I have referred very briefly to the 
 theory, recently revived by so good a critic as Sidney Lee, that 
 Pericles was written by Shakespeare and some other dramatist 
 working in partnership, or " collaboration," as was often done by 
 playwrights in that day. The double authorship of certain other 
 plays in the Shakespeare canon — Henry VIII., Timon of Athens, 
 and The Two Noble Kinsmen — has sometimes been explained in 
 the same way. 
 
 But there is no external evidence whatever that Shakespeare 
 ever entered into any such literary partnership ; and, in my opin- 
 ion, the internal evidence of all these plays is decidedly against the 
 theory. This is particularly true of Pericles. To say nothing of 
 reasons drawn from the dramatic structure of the play, the question 
 is settled, to my thinking (and in respect to Timon of Athens as 
 well), by metrical considerations alone. Shakespeare was emi- 
 nently a metrist. He was born with the metrical or rhythmical 
 ear. His earliest work, whether we suppose it to be Venus and 
 Adonis, or some of the Sonnets, or plays like Lovers labour ''s Lost 
 and The Two Gentlemen of Verona, shows an artistic metrical 
 skill, which is invariably — naturally and of necessity — combined 
 with extreme sensitiveness to metrical imperfections in others. If 
 Shakespeare wrote Pericles, or any other play, in conjunction with 
 another author, he must of course have read what his partner con- 
 tributed to the joint stock ; and it is absolutely inconceivable that 
 he could have tolerated in combination with his own work such 
 wretched verse as we find in portions of Pericles and Timon. It is 
 difficult to believe that he could have consented to collaborate with 
 
 210 
 
Appendix 211 
 
 such a man ; but, if he did, he would have insisted upon being 
 allowed to put his partner's harsh and halting lines into better 
 shape. I can imagine him, after reading some of this verse, if 
 verse it can be called, saying to the author, as he made Hotspur 
 say of the " ballad-mongers : " — 
 
 " I had rather hear a brazen canstick turn'd, 
 Or a dry wheel grate on the axle-tree ; 
 And that would set my teeth nothing on edge, 
 Nothing so much as [poetry like this]. 
 'T is like the forc'd gait of a shuffling nag.'" 
 
 We all remember how he makes Rosalind criticise Orlando's 
 love-verses : — 
 
 " Celia. Didst thou hear these verses ? 
 
 Rosalind. O, yes, I heard them all, and more too ; for some of 
 them had in them more feet than the verses would bear. 
 
 Celia. That 's no matter : the feet might bear the verses. 
 
 Rosalind. Ay, but the feet were lame and could not bear themselves 
 without the verse, and therefore stood lamely in the verse." 
 
 And Touchstone, we know, compares the jingling rhymes to the 
 "right butter-women's rank to market" — the mere jog-trot of 
 metre — and again he calls it " the very false gallop of verse." 
 
 These and other passages that might be quoted show his criti- 
 cal way of looking at versification. The rhymes of the clowns in 
 the Midsummer Nighfs Dream, though put in a stanza-like ar- 
 rangement which he never uses elsewhere, are better verse than 
 much in Pericles and Timon. The " feet " at least are all right in 
 the composition of the hard-handed men of Athens, the burlesque 
 features being the excess of alliteration, the absurd figures, and 
 other rhetorical extravagances. Imperfect rhythm the poet seems 
 to have considered as too bad even for Bottom and his crew. Is it 
 then to be supposed that he could have endured it in a dramatic 
 production of which he was to be known as joint author ? 
 
 We have seen that the player-editors of the folio of 1623 rejected 
 
212 Appendix 
 
 Pericles, though they printed other plays of mixed or doubtful 
 authorship, and though Pericles had been pubUshed by itself in 
 quarto form in 1609 with Shakespeare's full name as author on 
 the title-page. But the quarto was undoubtedly a " pirated " edi- 
 tion, like most if not all of the quartos published before 1623, and 
 cannot therefore have any important bearing upon the question 
 either way. How then are we to explain the rejection of Pericles 
 by the folio editors ? It seems to me highly probable that they 
 were aware that Shakespeare did not like the manner in which the 
 play had been finished or " adapted " for the stage. He certainly 
 had good reason for being disgusted with the poor stuff that had 
 been prefixed to his charming dramatic sketch ; and, while he may 
 have winked at the profanation so far as it answered a temporary 
 purpose on the stage of his own theatre, he may have been justly 
 indignant that the mongrel production should have been printed 
 by an unscrupulous publisher with his name as sole author on the 
 title-page. The quarto was, moreover, wretchedly printed, making 
 the imperfections of his own rough and unfinished draft, and the 
 vileness of the interpolated matter, the more glaring. 
 
 Heming and Condell were not only fellow-actors with Shake- 
 speare but his intimate friends — the only members of the company, 
 except Burbage, who were remembered in his will — and that fact 
 tends to confirm the supposition that they knew his feeling concern- 
 ing this play (as of others) and that it influenced them in deciding 
 what to include and what to exclude in the collected edition of his 
 works which they compiled after his death. 
 
 It is remarkable, moreover, that Pericles was omitted from the 
 second folio in 1632, though the firm that then owned the copy- 
 right of the play was interested in the publication of that edition. 
 The influence, whatever it was, that kept the drama out of the first 
 folio appears to have been sufficient to exclude it from the second 
 also. The publishers of the third folio, more than thirty years later, 
 were less scrupulous, not only admitting Pericles but adding six 
 other plays in which Shakespeare had no share whatever. 
 
Appendix 213 
 
 The Stage History of the Play 
 
 It is a curious fact that Pericles, with all its faults, was very popu- 
 lar on the stage for many years after its first production. The six 
 piratical quarto editions brought out between 1609 and 1635 would 
 sufifi.ce to prove this, if we had no other contemporaneous evidence 
 to the same effect ; but there are many complimentary allusions to 
 it in the literature of the time. The subject has been referred to 
 above (p. 12), but may be briefly continued here. 
 
 Robert Tailor, in the prologue to a play in 16 14, says : — 
 
 "And if it prove so happy as to please, 
 We '11 say 't is fortunate like Pericles." 
 
 This, however, has been understood to mean "fortunate" in spite 
 of its dramatic defects. 
 
 As late as 1646 a poet named Shephard wrote in no ambiguous 
 
 strain thus : — 
 
 " with Sophocles we may 
 Compare great Shakespeare : Aristophanes 
 Never like him his Fancy could display, 
 Witness the Prince of Tyre, his Pericles." 
 
 There were, nevertheless, those who were more critical in their 
 estimate of the play. In 1652, J. Tatham, in quoting opinions of 
 various plays with which he did not himself agree, says : — 
 
 " Shakespeare, the Plebeian driller, was 
 Founder'd in Pericles, and must not pass." 
 
 He calls these critics " ingrateful " in that they 
 
 " dart their rage 
 Against the beams that warm them and the stage." 
 
 Ben Jonson's sneer at Pericles and Feltham's rejoinder have been 
 quoted above (p. 12). 
 
 In 1 619, Pericles was selected for a performance at court, being 
 
214 Appendix 
 
 played, as the ancient record says, ^* before the Marquis Tremouille 
 and other French Lords at Whitehall in the king's great chamber." 
 
 It was revived at the Globe Theatre in 1631, by the King's com- 
 pany ; and again at the Cock Pit in Drury Lane, about thirty years 
 later. 
 
 In 1738, an adaptation of the play, based upon the last two acts, 
 by George Lillo, was represented at Covent Garden. 
 
 We hear nothing more of Pericles on the stage until 1854, when 
 it was a conspicuous success in the series of Shakespearian repro- 
 ductions at Sadler's Wells in London, though this may have been 
 largely due to the novelty of the revival. Since that time, so far as 
 I can learn, it has not been put upon the stage anywhere. 
 
 The Time-Analysis of the Play 
 
 This is summed up by Mr. P. A. Daniel ( Trans, of Neiv Shaks. 
 Soc. for 1877-1879, p. 255) thus : — 
 
 " The story of Pericles comprises a period of from fifteen to six- 
 teen years, of which fourteen days are represented on the stage, the 
 chief intervals being accounted for in the choruses." 
 
 1st Chorus, introducing — 
 Day I. Act I. sc. i. 
 
 Interval. Pericles returns to Tyre. 
 " 2. Act I. sc. ii., iii. 
 
 Interval. Pericles sails to Tarsus. 
 " 3. Act I. sc. iv. 
 2d Chorus. An interval. Sojourn of Pericles at Tarsus, depar- 
 ture therefrom, and arrival at Pentapolis. 
 Day 4. Act II. sc. i. 
 " 5. Act II. sc. ii.-iv. 
 *' 6. Act II. sc. V. 
 
Appendix 215 
 
 3d Chorus. An interval of eight or nine months. Marriage of 
 Pericles, his wedded life, and departure from Pentapolis, 
 Day 7. Act III. sc. i. 
 " 8. Act III. sc. li. 
 
 Interval of a few days. 
 " 9. Act III. sc. iii., iv. 
 4th Chorus. An interval of fourteen years. Education of Marina 
 in Tarsus. 
 Day lo. Act. IV. sc. i. 
 
 Interval, Marina's voyage from Tarsus to Mytilene. 
 " II. Act IV. sc. ii., iii. 
 5th Chorus. Act IV. sc. iv. An interval of a few days. Peri- 
 cles arrives in Tarsus, and departs therefrom on learning his 
 daughter's supposed death. 
 
 Day 12. Act IV. sc. v., vi. [should be V. i., ii.] 
 6th Chorus. An interval of three months between the depar- 
 ture of Pericles from Tarsus and his arrival at Mytilene. 
 Day 13. Act V. sc. i. 
 
 7th Chorus. Act V. sc. ii. An interval. Sojourn in Mytilene 
 and voyage to Ephesus. 
 Day 14. Act V. sc. iii. 
 8th Chorus. Epilogue. 
 
 List of Characters in the Play 
 
 The numbers in parentheses indicate the lines the characters 
 have in each scene. 
 
 Antiochus : i. 1(67). Whole no. 67. 
 
 Pericles: i. 1(98), 2(94), 4(17); ii. 1(79), 3(25), 5(33); iii. 
 i(59)> 3(28); V. 1(115), 3(55)- Whole no. 603. 
 
2i6 Appendix 
 
 Helicanus: i. 2(31), 3(19) ; 11.4(32); v. 1(39), 3(1). Whole 
 no. 122. 
 
 Escanes : 11. 4(2). Whole no. 2. 
 
 Simonides : 11. 2(28), 3(67), 5(58). Whole no. 153. 
 
 Clean: 1. 4(74); HI. 3(14); iv. 3(22). Whole no. no. 
 
 Lysimachus : Iv. 6(52); v. 1(55). Whole no. 107. 
 
 Cerimon : 111. 2(84), 4(8); v. 3(17). Whole no. 109. 
 
 Thaliard: 1. 1(6), 3(22). Whole no. 28. 
 
 Philemon: ill. 2(3). Whole no. 3. 
 
 Leonine : Iv. 1(23). Whole no. 23. 
 
 Marshal: 11. 3(1). Whole no. i. 
 
 Pandar : Iv. 2(28), 6(4). Whole no. 32. 
 
 Boult : iv. 2(44), 6(55). Whole no. 99. 
 
 Messenger : 1. 1(1). Whole no. i. 
 
 i^/Z^r^.- 1.2(1), 4(7); 11. 2(6), 4(16); v.i(3). Wholeno. 33. 
 
 id Lord: i. 2(2); 11. 2(2), 4(7). Whole no. 11. 
 
 id Lord : 11. 2(2), 4(1). Whole no. 3. 
 
 \st Fisherman : 11. 1(43). Whole no. 43. 
 
 2d Fisherjnan : 11. 1(31). Whole no. 31. 
 
 "^d Fisherman : 11. 1(20). Wholeno. 20. 
 
 1st Knight : 11. 3(6), 5(1). Whole no. 7. 
 
 2d Knight : 11. 5(1). Whole no. i. 
 
 ■^d Knight : 11. 5(1).* Whole no. i. 
 
 1st Sailor : Hi. 1(10), Whole no. 10. 
 
 2d Sailor : ill. 1(6). Whole no. 6. 
 
 1st Gentleman: Hi. 2(18); iv. 5(6); v. 1(1). Whole no. 25. 
 
 2d Gentleman: ill. 2(14); iv. 5(4). Whole no. 18. 
 
 1st Pirate: iv. 1(1), 2(1). Whole no. 2. 
 
 2d Pirate : iv. i(i). Wholeno. i. 
 
 T^d Pirate : iv. 1(2). Whole no. 2. 
 
 Servant : m. 2(6) . Whole no. 6. 
 
 Tyrian Sailor : v. 1(9). Whole no. 9. 
 
 Daughter {of Antiochtis') : 1. 1(2). Whole no. 2. 
 
 Dionyza : i. 4(9); iii. 3(6); iv. 1(38), 3(36). Whole no. 89. 
 
Appendix 217 
 
 Thaisa: ii. 2(22), 3(22), 5(4); iii. 2(2), 4(10); v. 3(22). 
 Whole no. 82. 
 
 Marina: iv. 1(46), 2(16), 6(61); v. 1(65), 3(2). Whole no. 
 190. 
 
 Lychorida : iii. i(ii). Whole no. ii. 
 
 Bawd: iv. 2(74), 6(43). Whole no. 117, 
 
 "Diana": v. i(io). Whole no. 10. 
 
 "Goiver" (as" C/zorz(s^') : i. (42); ii. (40); iii. (60); iv. (52), 
 4(51); V. (24), 2(20), 3(18). Whole no. 307. 
 
 'M//".- i. 4(2); ii. 2(1), 4(1). Whole no, 4. 
 
 In the above enumeration, parts of lines are counted as whole 
 lines, making the total in the play greater than it is. The actual 
 number of lines in each scene (Globe edition numbering) is as 
 follows: i. chor. (42), 1(171), 2(124), 3(4°), 4(io8); ii. chor. 
 (40), 1(173), 2(60), 3(116), 4(58), 5(93); iii. chor. (60), 1(182), 
 2(111), 3(41), 4(18); iv.chor. (52), 1(103), 2(163), 3(51), 4(51), 
 5(10), 6(212); V. chor. (24), 1(265), 2(20), 3(103). Whole num- 
 ber of Hnes in the play, 2391 (in Shakespeare's part, 756). 
 
INDEX OF WORDS AND PHRASES 
 EXPLAINED 
 
 absolute (= perfect) , 189 
 addressed (= prepared), 
 
 176 
 afore me, 170 
 a-land, 168, 186 
 all to topple, 184 
 amazement, 161 
 and that (= and if), 153 
 appliance, 186 
 argentine, 206 
 artificial, 201 
 as (=as if), 154, 155 
 as (= that) , 160 
 attribute (= reputation), 
 
 193 
 awful (= full of awe) , 166 
 awkward (= adverse), 
 
 202 
 ay me! 191 
 
 bases (garment), 172 
 
 been (= are) , 167 
 
 beholding (= beholden), 
 
 . 178 
 
 benign (accent), 166 
 
 bitumed, 185 
 
 blown (= swollen) , 206 
 
 blurted at, 194 
 
 bolins, 182 
 
 book (metaphor), 155 
 
 bots on 't ! 171 
 
 brace (= armour), 171 
 
 braid (= reproach), 158 
 
 breathing (= exercise), 
 
 i77_ 
 building, 172 
 buxom, 154 
 
 can (= gan), 180 
 cancel (noun), 159 
 canvas-climber, 192 
 cares it be not done, 161 
 carpet, 190 
 cates, 175 
 
 censure (= judgment), 
 177 
 
 change of thoughts, 160 
 
 character (= handwrit- 
 ing), 188 
 
 cheapen, 197 
 
 chequins, 192 
 
 chiding (= noisy) , 182 
 
 city (= citizens) , 209 
 
 clear (= pure) , 198 
 
 coffer, 183, 188 
 
 coigns, 180 
 
 commend (noun), 174 
 
 commend to your con- 
 tent, 190 
 
 conceit, 182 
 
 conditions (= qualities), 
 182 
 
 condolements, 171 
 
 confound (= consume), 
 207 
 
 consist (= stand), 165 
 
 consume blood (by sigh- 
 ing), 191 
 
 conversation (= con- 
 
 duct), 166 
 
 convince (= overcome), 
 162 
 
 copp'd, 159 
 
 countless (= infinite), 156 
 
 cracks (of heart), 186 
 
 cunning (= knowledge), 
 184 
 
 curious (= elegant), 165 
 
 date (= term of life), 188 
 death-like dragons, 156 
 deliver (= relate), 204, 
 
 208 
 dern, 180 
 
 desire (metre), 156 
 Diana's livery, 178 
 discourse our woes, 164 
 distain, 194 
 
 219 
 
 distemperature, 199 
 doit, 193 
 do 'e, 171 
 
 dooms (= judgments) , 180 
 doubt (= suspect), 162 
 doubting (= fearing) , 163 
 dropping (industry), 192 
 drowned (= sunk) , 207 
 dumbs, 198 
 
 eaning time, 188 
 
 earnest (noun), 193 
 
 eche, 180 
 
 edict (accent), 159 
 
 entertain (noun), 160 
 
 entrance (trisyllable), 176 
 
 escapen, 167 
 
 et bonum quo antiquius, 
 
 etc., 153 
 extremity, 203 
 eyne, 179 
 
 fact (= deed) , 193 
 fair glass of light, 158 
 fault (= misfortune) , 193 
 favour (= face), 191, 207 
 fence (= guard), 161 
 fere, 154 
 flap-jacks, 170 
 flaw (=gust), 182 
 fool and death, the, 184 
 for (= because) , 204, 208 
 for (=for fear of), 157 
 for (=fit for), 155 
 for (= instead of) , 183 
 forbear (= bear with), 178 
 frame (= shape course), 
 
 154 
 full of face, 154 
 furtherance, 172 
 
 gins (verb), 187 
 give him glad, 167 
 glad (verb), 156 
 glass (figurative), 164 
 
220 Index of Words and Phrases 
 
 gloze, 159 
 gone through, 192 
 good constraint of for- 
 tune, 185 
 graff, 200 
 
 greets (= gratifies), 194 
 griefs (= grievances), 177 
 grieve (= grieve us), 177 
 grisly, 180 
 
 haling ropes, 192 
 happily (= haply), 165 
 hatched (door), 192 
 have an wish but for 't, 
 
 195 
 he not thought upon, 175 
 heap (=mass), 156 
 heaven (plural), 164 
 Hesperides, 153, 156 
 hight, 189 
 his (= its), 172, 174 
 his wife's soul, 170 
 holy-ales, 153 
 honest (in addresses), 169 
 honour (= honourable 
 
 duty), 173 
 how a (= how go a), 197 
 humming water, 183 
 husbandry, 184 
 husht (= hush), 163 
 
 I wis, 166 
 
 in hac spe vivo, 174 
 inkle, 198 
 intend, 162 
 
 impudence (= immod- 
 esty), 176 
 
 jetted (= strutted), 164 
 
 jewel, 172 
 
 just (= tilt), 170 
 
 keep door hatched, 192 
 killen, 166 
 
 la (emphatic), 192 
 
 let their ears hear their 
 
 faults hid, 161 
 level (= aim), 177 
 levy, 179, 
 lien, 186 
 like (= as), 177 
 longs (= belongs), 167 
 lown, 197 
 Lucina, 155 
 lux tua vita mihi, 173 
 
 make a star of him, 208 
 
 making (= sailing), 195, 
 
 199 
 malkin, 194 
 marriage (trisyllable) , 
 
 175 
 masked Neptune, 188 
 measure (dance), 177 
 me (expletive), 197 
 me pompae provexit apex, 
 
 174 
 mortal (= fatal), 187, 199 
 mortal vessel, 196 
 motion (= puppet), 203 
 mild companion, 156 
 mischief (= misery ?) , 163 
 music of the spheres, 205 
 
 nation (trisyllable), 165 
 
 ne (= nor), 167 
 
 needle (spelling), 189, 198 
 
 neglection, 187 
 
 nicely, 190 
 
 night-bird, 189 
 
 nill, 180 
 
 nimble (lightning), 181 
 
 nips, 205 
 
 not yet two summers 
 
 younger, 164 
 nousle, 165 
 
 on (doubled), 180 
 opinion (= reputation) , 
 
 174 
 oppress (= suppress), 180 
 orbs (= spheres), 162 
 ornament (= beard) , 208 
 ostent, 161 
 owe (= own) , 203 
 own a name too dear, 198 
 
 pain (= labour), 184 
 Paphos, 189 
 
 paragon to all reports, 191 
 partake (= impart), 160 
 parted (= parted from) , 
 
 207 
 passion (= grief) , 196 
 Patch-breech, 168 
 pen (= odes), 189 
 Pentapolis, 168, 170 
 perch, 180 
 persever, 198 
 Philoten, 153 
 physic (metaphor), 158 
 piece of virtue, 198 
 Pilch, 168 
 pistol, 160 
 
 piu por dulzura, etc., 173 
 plain (= explain) , 180 
 poor worm, 159 
 porpus, i58 
 pothecary, 184 
 pregnant (= ready), 189 
 present, 174 
 presently, 184 
 prest, 189 
 prince', 167 
 principals, 184 
 prosperous and artificial 
 
 feat, 201 
 purchase (=gain), 153 
 
 quaintly, 180 
 quick (= fresh) , 191 
 quit (= requite), 182 
 quod me alit, me extin- 
 guit, 174 
 
 rapture (= seizure), 172 
 receptacle (accent), 198 
 records (= sings), 189 
 reserve (= guard), 191 
 resist me, 175 
 resolve (= satisfy), 177, 
 
 179, 199, 208 
 return (= reply), 173 
 riches (singular), 164 
 rite, 188 
 
 sail (= fleet), 165 
 satin coffer, 183 
 sayed (= assayed), 157 
 seas (metaphor), 178 
 semblance (trisyllable) , 
 
 165 
 sense (= sensual desire), 
 
 158 
 shall 's, 197 
 shine (noun), 162 
 shipman, 163 
 sic spectanda fides, 174 
 Signior Sooth, 161 
 sleided, 189 
 smiling extremity out of 
 
 act, 203 
 smooth (= flatter), 162 
 soldier, be a, 190 
 soldier's dance, 176 
 sometimes (= formerly) , 
 
 157. 
 speeding, 177 
 speken, i66 
 spet, 181 
 
Index of Words and Phrases 221 
 
 standing-bowl, 176 
 stead (=aid), 180, rSg 
 steerage, 196 
 still (= constantly), 182, 
 
 187 
 strain (= race) , 193 
 strongest in our censure, 
 
 177 
 
 take (= captivate) , 195 
 talents (— talons), 194 
 Tellus, 190 
 thankful doom, 207 
 that (= so that), 197, 198, 
 
 209 
 Thetis, 197 
 thorough (= through) , 
 
 194 
 though, 167 
 thoughten, 198 
 thronged up, 170 
 tire (noun), 184 
 to-bless, 197 
 
 topped (= lopped), 163 
 tree (peculiar), 160 
 triumph (= tournament) , 
 
 172 
 Tyrus, 197 
 
 unscissared, 187 
 unto (= according to), 
 172 
 
 vail (slower), 175, 189 
 
 vails (= avails), 171 
 
 Valdes, 192 
 
 vegetives, 184 
 
 veins (metaphor), 166 
 
 vessel (=body), 196 
 
 vial (reading), 186 
 
 vie (= compete in), 182, 
 
 wages not with, 192 
 
 wanion, 168 
 
 waste (= spend), 154 
 
 weed (= garment), 190 
 
 well-a-near, 180 
 
 well said (=well done), 
 
 186 
 where (= whereas), 160, 
 
 175 
 whereas (= where), 165 
 whipped (vagrant), 170 
 whipstock, 174 
 who (omitted), 160 
 who (= which), 162 
 who (= whom), 157, 164, 
 
 207, 208 
 wight, 154 
 
 wild in beholding, 205 
 wit (= know), 197 
 word (= motto), 173 
 wracked, 167, 185, 188 
 writ (= holy writ), 166 
 
 yielded (= born) , 208 
 yravished, 180 
 y slaked, 179 
 
ROLFE'S ENGLISH CLASSICS 
 
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